Zakhar Prilepin - Sasha Tishin and his friends are members of the Founders, an extremist right-wing group loosely based on the now-banned National Bolsheviks. The Founders want to tear down the corrupt government, destroy Western-style capitalism, and build a better country—one based on dignity, on ideals, one close “to the soil,”

Book review: Zakhar Prilepin, 'Sankya' | openDemocracy

Zakhar Prilepin, Sankya. Trans. by Mariya Gusev and Jeff Parker. Disquiet, 2014.


Sasha “Sankya” Tishin, and his friends are part of a generation stuck between eras. They don’t remember the Soviet Union, but they also don’t believe in the promise of opportunity for all in the corrupt, capitalistic new Russia. They belong to an extremist group that wants to build a better Russia by tearing down the existing one. Sasha, alternately thoughtful and naïve, violent and tender, dispassionate and romantic, hopeful and hopeless, is torn between the dying village of his youth and the soulless capital, where he and his friends stage rowdy protests and do battle with the police. When they go too far, Sasha finds himself testing the elemental force of the protest movement in Russia and in himself.
Originally published in 2006, Sankya is even more relevant today as a prism through which to view the recent large-scale actions against Vladimir Putin. It is Prilepin's first novel and is widely considered his best.

When Sankya was published in Russia in 2006, it became a sensation. It won the Yasnaya Polyana Award (bestowed by direct descendants of Leo Tolstoy) and was shortlisted for the Russian Booker and the National Bestseller Award. Every member of the cultural elite had an opinion on it. There was even a hatchet job by the president of Russia’s largest commercial bank; the banker-cum-critic received an avalanche of responses rebuking his review. Many reviewers disagreed with the Prilepin’s political beliefs, but acknowledged that the novel is a literary masterpiece. Already widely translated in Europe, this book struck a raw nerve, to say the least. The timely English edition, featuring an excellent translation by Mariya Gusev and Jeff Parker (with Alina Ryabovolova), and a heartfelt forward by Alexey Navalny, a Russian anti-corruption activist, will introduce America to a unique talent as well as the kind of Russia very few foreigners have seen. For the soul of the country is never in the news headlines; it is in literature. Sankya succeeds brilliantly in plunging the reader into the psyche of the young people on the fringes of the success story Russia projected to the world during the Sochi Olympics.
Twenty-two-year-old Sasha Tishin—or Sankya, as his grandmother calls him—and his friends are members of the Founders, an extremist right-wing group loosely based on the now-banned National Bolsheviks. The Founders want to tear down the corrupt government, destroy Western-style capitalism, and build a better country—one based on dignity, on ideals, one close “to the soil,” something like the Soviet Union but not quite, not so bureaucratic. If that sounds vague, it’s because in the beginning the Founders don’t have a plan beyond demonstrations, which often devolve into street vandalism. The book opens with one such protest. Sasha and his friends narrowly escape the riot police, but even the possibility of jail hardly scares Sasha. He will survive it, he thinks, because he’d survived his mandatory army service, a notoriously harsh ordeal in Russia.
Sasha returns to his small, dreary town, visits his grandparents in the dying village of his childhood, then goes to Moscow again, to hang out in the “bunker,” the Founders’ headquarters, and shyly court Yana, the rumored lover of their jailed leader. Sometimes he just meanders the streets as his thoughts meander in his head. What to do? Where to go? Sasha’s father had died a year and a half before the novels opens; his father was the last of three brothers to succumb to alcoholism, and alcohol is a central character in the novel: a comforter, a friend, an agitator, and a truth-teller. Sasha’s mother, “tired, like every Russian woman who had been alive for more than half a century,” works long shifts. The only jobs Sasha had been able to find are physically draining: loader, construction worker. Yet, Sasha is not simply the drunken hoodlum he may appear to a passerby. He is Holden Caulfield with a Molotov cocktail, at once aggressive and vulnerable, tender (especially when it comes to his mother) and rude, self-possessed and romantic. But apathetic he is not. Just as the novel asks the big questions—What is our country? What is our history?—Sasha constantly interrogates himself: “Who am I? . . . Am I bad? Kind? Hopeful? Hopeless?” Sometimes, he has dialogue with a voice inside his head. These conversations and the way Sasha sees the world are very interesting.
The Founders stage an action in Riga to protest the imprisonment of seventeen elderly Red Army veterans by Latvian authorities on charges of foreign occupation. Though Sasha doesn’t participate, he is picked up in Moscow and is tortured for information. He barely survives but is proud to not have cracked. The plot complicates when Sasha is tasked with assassinating the Riga judge who sentenced his Founders comrades to fifteen-year sentences for the nonviolent Riga protest. Fittingly, it’s not the surprising outcome of Sasha’s assignment, but rather Yana’s success at emptying a bag of slop on the Russian president’s head in Moscow that sets off a full-scale war between the authorities and the Founders. Sasha takes a prominent role in the battle in his hometown, leading a group of assorted Founders (a former member of the special police, a drug addict, and several skinny, impassioned youths) to the limit of opposition and the edge of reason.
Prilepin, who has served in special police forces as well in the Russian military in Chechnya before becoming one of the leaders of the National Bolshevik group and getting arrested more than 150 times, clearly draws from his own experience. But the novel is not a polemic; it is a piece of art. It looks long and hard into the darkest crevasses of the consciousness of the young people stuck between eras, the young people who must be understood rather than dismissed if the country is to move forward. There are several instances where Sasha gets into heated discussions about Russia’s future and is challenged to formulate and defend his philosophy.
“And how does this ‘new-well-forgotten-old’ society contradict the idea of the nation’s future that irks you so much?” Sasha asks Lev, his roommate at the hospital, where Sasha is recovering from his beating.
“Because the idea of the nation’s future, Sasha, has been slipped to you by the angry and slovenly Slavophiles and contradicts anthropology. It contradicts evolution! It’s this idea that perpetuates the eternal circle we just discussed-from violence to chaos.”
Later Sasha says: “But I don’t live in Russia. I’m trying to bring her back. She was taken away from me,” and Lev replies: “Some executioners took Russia away from other executioners. And no one knows which of the executioners is the better. The current ones let you live, at least.”
These passages continue the dialogue that has been going on in Russian literature for centuries, with notable contributions from Ivan Turgenev in Fathers and Sons on the topic of Westerners vs. Slavophiles to What Is to Be Done?, Nikolai Chernyshevsky’s response to Turgenev, and on to Lev Tolstoy’s own What Is to Be Done? During most of the twentieth century, when Soviet literature was censored, the dialogue proceeded underground, in Chronicle of Current Events, a long-running samizdat periodical, and in books by Russian writers in exile abroad, such as Alexander Solzhenitsyn.
But it is not so much Prilepin’s engagement with politics that compels comparisons to the Russian greats—one prominent Russian critic called him the next Gorky—it is his language and his ability to vividly portray everyday life. Prilepin imbues everything with its own mood and secret history. Here’s how he describes the dying village of Sasha’s childhood:
“Like a pockmarked, hardened, dark ice floe, it had separated from the shore and was drifting away quietly . . . Farther along were the stables, where Granny hadn’t kept a goat for the past year, no pigs for three, and ten years since Domanka the cow was led away on her last walk. The stables emitted no scents of life, no manure smell. Not a single furry soul shuffled its hooves—nothing chewed, breathed noisily, nothing was frightened by Sasha’s steps. Only the smell of rot and dirt.”
Prilepin applies an equally nuanced and sensitive brush to his portraits of people. Interestingly, at places an authorial voice peeps from behind the third-person narrator close to Sasha: “He sat in the corner, slept sitting up, deeply, easily—young bones don’t care where they are thrown. However they fall, so be it.” In the middle of Sasha’s love scene with Yana, an episode that would not be nominated for one of those gleefully beloved worst-sex-scene contests, Prilepin writes: “She lay there, panting, quivering like a smooth lizard, some little-known, regal breed. Perhaps some kind of lunar lizard.” He pays vigilant attention to Sasha’s inner life, often introducing passages of introspection in a way that would be sneered at in some MFA workshops. Here is Sasha in the hospital, recovering after the beating: “a sudden realization simply descended upon him . . .” At the same time, the author is always alert to Sasha’s physical body, the persistent sentience of it that is more honest than Sasha’s unquiet, often drunken mind: “Sasha felt as if someone had taken out all his organs, boiled them, and put them back in—overcooked and trembly.”
I must note one scene in particular that left me devastated. In it, Sasha recalls his father’s funeral. His father is to be buried in the village so that his parents, Sasha’s grandparents, can visit the grave. However, the road to this village is so bad that it’s only accessible by car and only during the warm and dry May. Other times, you need a tractor, or a horse. Sasha gets a van driver to agree to drive the coffin to the village by not telling him where exactly they are heading. The only other people in the mourning party are Sasha’s mother and Bezletov, a former student of Sasha’s father. As they set out from the town, the lightly falling snow turns into a snowstorm. About two-thirds of the way to the village, the car gets stuck in the snow. The driver refuses to go any farther, and Sasha and Bezletov end up dragging the heavy coffin for several hours while his mother follows with a bag of food meant for the wake. As I read this tragic, absurd, darkly humorous scene, I cringed and thought: now this is a truly Russian funeral. The mourners, who are themselves about to expire from cold and exhaustion, are saved in an unexpectedly heartwarming fashion.
This is a novel of ideas, a novel of action, and a novel of heartbreak and beauty. Many might consider Sasha an anti-hero due to his political beliefs and his destructive tendencies, yet it is undeniable that he is trying to fill the well deep within himself with meaning. To me, that makes him a riveting character, and with him at the helm, Sankya takes its place among the best coming-of-age and political novels. - Kseniya Melnik

Zakhar Prilepin, Sin. Trans. by Simon Patterson and Nina Chordas. Glasgow Publications, 2012.

“…every one of my sins will torment me…
And the good that I have done is lighter than fluff.
It will be blown away by any draft of wind…” - Sin Z. Prilepin
Sin – a novel-in-stories by Zahar Prilepin – which has become an apogee of the spirit of the 2000s in Russia and is being called the book of the decade by the Super Natsbest Award jury, not only embodies the reality of post-perestroika Russia in its pages, but also shows that even in this reality, just like in any other, it is possible to live happily while remaining human.

In the episodes of Zakharka’s happy life, in non-chronological order, the reader sees him as a little boy, a bitterly drinking grave-digger, a nightclub bouncer or a soldier in Chechnya. He has no money, but has the ability to enjoy every moment of existence. He is contagiously full of passion for living, taking large gulps of it while being uncompromisingly happy, despite the crudeness of his surrounding reality.
Manhood in the flesh, he is overwhelmed by instincts and overcomes them not without pleasure, preserving what is truly important in life. He looks boldly, and even with curiosity, into the face of death - either taking pictures of the deceased at a funeral or staring agitatedly at a just-disembowelled pig - and values the freedom of not fearing for his life, perhaps even more than life itself. And only two young sons make him understand that this freedom is not his anymore.
Like the Russian soul itself, Zakharka is lost in search of his place in this newly-reorganized world. He is a kind of goodness with fists, full of youthful energy and daring, capable yet of truly loving and changing today, even in little things – in order to obtain justice.
Sin offers a fascinating window into the soul of those whom you can see on the streets doing menial jobs, or stone-faced Russian army recruits who will come back from war to find themselves chucking drunken visitors out of a nightclub. 
The novel offers a rare and intimate perspective on the reality of the recent Russian past, as well as the present, with its unemployment, poverty, violence and local wars – social problems that are an actuality for most of the countries on the planet.
It’s hard to explain the effect of Zakhar Prilepin’s book called Грех (Sin), which won this year’s National Bestseller prize. The book describes itself as a novel in short stories – not quite accurate, since there is also a section of poetry – and each piece about a young man named Zakhar establishes its own mood. All the stories, though, combine threads of tenderness, rage, and тоска (toska), an untranslatable Russian word that represents a sort of soulful yearning and worry.
That combination results in stories that range from merely sad to heartbreaking to absolutely deflating. “Белый квадрат” (“White Square”), for example, reaches a shocking end that feels unexpected… until the reader returns to a few bits of dialogue strewn through the story. A lighter piece, “Карлсон” (“Karlsson”) is named for an Astrid Lindgren character but is, put briefly, a tale of how Zakhar and a friend drink a lot outside and sometimes visit bookstores. Still, Zakhar begins “Karlsson” by explaining that he’d felt such “нежность к миру” (“tenderness for the world”) that he’d decided to try joining the Foreign Legion at a strange age when it’s still easy to die.
There are also stories involving love and lost puppies, work as a gravedigger, serving in Chechnia, family responsibilities, a stay in the country with nubile cousins, and what sounds like an exceptionally rough night as a bouncer. Zakhar himself, usually as a first-person narrator, links the stories. They are presented out of chronological order. Prilepin’s motivations for using his own pseudonym for a character’s name interest me far less than the result: an almost ironic genericness and a sense that “Zakhar” is, somehow, an archetypical figure from contemporary Russia.
The settings and situations in Sin often add to that tone because they feel universal – many of the seven deadly sins make appearances – yet still uniquely Russian because of characters’ choices. Prilepin mentions only small details, like a signpost, references to a transitional time, and, of course, the Chechen War, to place the book in a concrete place and time.
I admire Prilepin’s simple language and story structures, which reflect the everydayness of what he writes. Though at first they seem unremarkable, these stories become a disjointed and oddly beautiful portrait of a young life. Best of all, Prilepin, unlike his soldiers in “Сержант” (“The Sergeant”), is not afraid of expressing his feelings. There is an honesty to the stories that is disarming and frightening, particularly because the balance of anger and sweetness is so precarious.
Although not everything Prilepin writes is exactly subtle, he rarely becomes precious (with puppies) or brutal (as a bouncer) for long. Even when he does, Zakhar still feels painfully real. His emotional rawness was, for me, so distinctive and overpowering in a positive way that it was easy to overlook small technical aspects – an extra plot element in one story or a bit too much action in another – that sometimes made me, a reader with a bias toward minimalism in short stories, wish he’d trimmed a bit.
One of my favorite scenes in the book is in “Ничего не будет” (“There Will Be Nothing”). Zakhar, now the father of two boys, describes family life with his beloved (любимая) but needs to travel out of town after his grandmother dies. He drives at night on desolate roads:
“Несколько раз меня обгоняли, и я поддавал газку, чтобы ехать в компании с кем-то, ненавязчиво держась метров в ста.”
“A few cars passed me, and I hit the gas in order to drive together with someone, unobtrusively hanging back about 100 metres.”The other cars eventually turn off the road, leaving Zakhar alone again.
I wish more writers had the courage to write passages, stories, and novels that rely on such simple metaphors, basic language, and true emotions. Prilepin is quoted in this article as saying that Sin looks at “how to ‘indulge in happiness while not sacrificing one’s soul and drowning in sin.’” I find in Sin an edgy happiness and joy for life that cohabitate with a recognition of death and loneliness. It’s only fitting that Zakhar is described, in “The Sergeant,” as a man who has felt several times in life “a strange nakedness, as if he’d shed his skin.” 
There’s lots more I could write about Sin and Prilepin himself, but I’ll end by adding that I don’t believe any of Prilepin’s writing has been translated into English. For those of you who read Russian, I’ve included below a link to a Russian page that contains links to some of Prilepin’s stories. The first five items are stories from Sin; the first story in the link called “рассказы” is “Белый квадрат.” The last link leads to the title story of Prilepin’s latest book.
Links to Prilepin stories on Журнальный зал
“And he (Prilepin) is probably the most important writer in modern Russia, a sensitive and intelligent critic of his countrys condition. To understand Russia today, you need to understand Prilepin first and foremost because he doesnt fit into the preconceptions most outsiders have about the place. <…> Prilepin is an intensely male writerlike Ernest Hemingway, hes intoxicated with the rituals and bonds of maleness, and, by extension, war, which he sees as the ultimate test of manhood.”
Russias Young Hemingway/ NEWSWEEK MAGAZINE

"It is an intensely human story that takes you to a different place that, at the same time, feels familiar". BOOKVIEWS by ALAN CARUBA
“Zakhar   Prilepins obsession with exploring the nature of Russian identity roots the book in a particular literary tradition. But his dark vision of Russian life in the novel “Sin” reveals that life can, and perhaps will, get better.”RUSSIA BEYOUND THE HEADLINES

“Amid chaos, instead of complaining or joining criminals, Zakhar keeps his human dignity and integrity. He enjoys what he has and life as it is. He loves and is being loved. For Zakhar, under the veil of male toughness and physical strength, there is also a caring and tender heart.“ OTTAWA LIFE MAGAZINE

“Prilepin is the biggest event in today’s Russian literature; his language reminds us of Tolstoy,”
TATYANA TOLSTAYA, famous Russian writer
“This book gives  you the impulse to live your life to the fullest without shallow hesitations,”
DMITRY BYKOV, famous Russian writer and journalist

“ … this writer has simply become a phenomenon which
is impossible to ignore,”
ALEXANDER GARROS, famous Russian writer


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