Leninsky Prospekt is an enthralling novel about conflicting allegiances, to family, friends, nations, ideals, at a time of legendary international tension.
In October 1962, Nikita Krushchev and John Kennedy confronted each other over the deployment of Russian missiles in Cuba, and world came as close as it has ever been to nuclear holocaust. During the crisis, the New York City Ballet, led by the Russian-born choreographer, George Balanchine, was performing in Moscow. And the dissident movement was taking hold among certain members of the Soviet intelligentsia. Nina Davenport, the lonely bride of a gifted, increasingly, preoccupied American diplomat, struggled to come to terms with her new circumstances.
Raised in Moscow, once a ballet student at the Bolshoi, Nina made an unprecedented escape to the West in the 1950s – by tricking the authorities. Ties to the past were severed, but never resolved. Her return to the Soviet Union is reckless at best; now, at the height of a world crisis, she confronts the demons of her traumatic girlhood. Hemmed in by official diplomatic restraints, followed everywhere by spies, longing to make contact with old friends, she becomes the tool of figures within the American Embassy who have a surprising agenda of which the world knows nothing.
Leninsky Prospekt brings vividly to life a period of anxieties that resonates with our own fraught times, as the characters, both real and imaginary, are stretched to the breaking point by political events. Katherine Bucknell's first novel, Canarino, was richly praised; her second is explosive, psychologically astute and deeply moving.
Katherine Bucknell was born in Saigon in 1957 and grew up in Washington, D.C. She has degrees from Princeton, Oxford, and Columbia Universities and lives in London with her husband, Bob Maguire, and their three children.
She is the editor of W.H. Auden's Juvenilia: Poems 1922-1928, four volumes of diaries by Christopher Isherwood, and The Animals, a volume of letters between Christopher Isherwood and his partner Don Bachardy. She is co-editor of Auden Studies, a founder of The W.H. Auden Society, and director of the Christopher Isherwood Foundation.
She has published four novels, Canarino, Leninsky Prospekt, What You Will, and +1.
notes to me -- ballet - russia - cold war - cuba - 1960s - spies - diplomats
quotes#364451
Viktor had written the poem in his head some time ago; tonight it was the poem he decided he wanted to write down. It would make no difference if the guards came and took his pencil away; it would make no difference if they made him wash the wall or if they painted over the poem. It was hardly legible anyway. He would always have the poem in his head. He would write it down again some place else, another time. Or he would recite it, to tell it to others, again and again, to anyone who would listen, inside prison or out, until they, too, could repeat it. He'd always go on writing, spreading his word, whenever he had the chance. p120
The guards came for him just before he lay down to sleep. They wouldn't throw him into solitary after a cosy night's snooze and a strengthening if shitty breakfast; they'd throw him in now, tired out. Let him soak his feet in the standing, icy water covering the floor, then let him slump all night on the stone bench. The bench was too hard, too narrow, too cold for sleeping. p118 [comment: ah the freedoms we have in life; sleep in warmth; context: political prisoner]