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Abstract:
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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). |
