The Day Lasts More Than A Hundred Years

" . . . a rewarding book." —Times Literary Supplement Set in the vast windswept Central Asian steppes and the infinite reaches of galactic space, this powerful novel offers a vivid view of the culture and values of the Soviet Union's Central Asian peoples.

In an introduction written in 1990, during perestroika, the author wrote that the original title was The Hoop ("Обруч"), which was rejected by censors. The title The Day Lasts More Than a Hundred Years, taken from the poem "Unique Days" ("единственные дни") by Boris Pasternak, used for the magazine version (Novy Mir, #11, 1980), was also criticized as too complicated, and the first "book-size" version of the novel was printed in Roman-Gazeta in a censored form under the title The Buranny Railway Stop (Буранный полустанок).The novel takes place over the course of a day, which encompasses the railman Burranyi Yedigei's endeavor to bury his late friend Kazangap in the cemetery Ana-Beiit ("Mother's Grave"). Throughout the trek, Yedigei recounts his personal history of living in the Sary-Ozek steppes along with pieces of Kyrgyz folklore. The author explains the term "Saryozeks" as "Middle Lands of Yellow Steppes". Sary-Ozek (or Russified form "Sarozek", used interchangeably in the novel) is also the name of a (fictional) cosmodrome.Additionally, there is a subplot involving two cosmonauts, one American and one Soviet, who make contact with an intelligent extraterrestrial life form and travel to the planet Lesnaya Grud' ("The Bosom of the Forest") while on a space station run co-operatively by the United States and the Soviet Union. The location of the Soviet launch site, Sarozek-1, near Yedigei's railway junction, intertwines the subplot with the main story.

A modern classic of Soviet literature--a love story that ranks alongside Turgenev's First Love.

Erika Haber's analysis of the interplay between literature and culture in the Soviet Union of the 1970s and 1980s breaks new ground not only in our understanding of this relationship, but also in our appreciation of the literary genre popularized at that time by the Colombian writer Gabriel Garc a M rquez--magical realism. The Soviets perceived Garc a M rquez as a Socialist, and they sanctioned his magical realism--when other writing styles were outlawed--as a natural extension of socialist realism. Haber discusses the use of magical realism in Soviet literature, focusing especially on two non-Slavic writers: Fasil Iskander, of Abkhazia, and Chingiz Aitmatov, of Kyrgyzstan. She explores how these writers used literary tools of subversion and successfully employed magical realism in rebellion against the prescription of national conformity in art. In critical readings of Iskander and Aitmatov, Haber demonstrates how these writers juxtaposed their native myth with Soviet myth, thus undermining the primary message of socialist realism by suggesting a plurality of worlds and truths.

“A beautiful debut, funny, tender, and animated by a willingness to confront life’s obstacles and find a way to survive. . . . It celebrates friendship, finds meaning in difficulty and lets the reader explore dark places while always allowing for the possibility of light. Lenni and Margot are fine companions for all our springtime journeys.”—Harper’s Bazaar, UK A charming, fiercely alive and disarmingly funny debut novel in the vein of John Green, Rachel Joyce, and Jojo Moyes—a brave testament to the power of living each day to the fullest, a tribute to the stories that we live, and a reminder of our unlimited capacity for friendship and love. An extraordinary friendship. A lifetime of stories. Seventeen-year-old Lenni Pettersson lives on the Terminal Ward at the Glasgow Princess Royal Hospital. Though the teenager has been told she’s dying, she still has plenty of living to do. Joining the hospital’s arts and crafts class, she meets the magnificent Margot, an 83-year-old, purple-pajama-wearing, fruitcake-eating rebel, who transforms Lenni in ways she never imagined. As their friendship blooms, a world of stories opens for these unlikely companions who, between them, have been alive for one hundred years. Though their days are dwindling, both are determined to leave their mark on the world. With the help of Lenni’s doting palliative care nurse and Father Arthur, the hospital’s patient chaplain, Lenni and Margot devise a plan to create one hundred paintings showcasing the stories of the century they have lived—stories of love and loss, of courage and kindness, of unexpected tenderness and pure joy. Though the end is near, life isn’t quite done with these unforgettable women just yet. Delightfully funny and bittersweet, heartbreaking yet ultimately uplifting, The One Hundred Years of Lenni and Margot reminds us of the preciousness of life as it considers the legacy we choose to leave, how we influence the lives of others even after we’re gone, and the wonder of a friendship that transcends time.

After surviving the blitzkrieg of World War II and escaping from two Nazi prison camps, Soviet soldier Azamat Altay was banished as a traitor from his native home land. Chinghiz Aitmatov became a hero of Kyrgyzstan, writing novels about the lives of everyday Soviet citizens but mourning a mystery that might never be solved. While both came from small villages in the beautiful mountainous countryside, they found themselves caught on opposite sides of the Cold War struggle between world superpowers. Altay became the voice of democracy on Radio Liberty, while Aitmatov rose through the ranks of Soviet politics. Yet just as they seemed to be pulled apart in the political turmoil, they found their lives intersecting in moving and surprising ways. Have the Mountains Fallen? traces the lives of these two men as they confronted the full threat and legacy of the Soviet empire. Through personal and intersecting narratives of loss, love, and longing for a homeland forever changed, a clearer picture emerges of the experience of the Cold War from the other side.