{"id":539,"date":"2013-03-25T13:01:23","date_gmt":"2013-03-25T12:01:23","guid":{"rendered":"http:\/\/prosefest.rs\/?p=539"},"modified":"2019-09-20T10:53:08","modified_gmt":"2019-09-20T09:53:08","slug":"vladimir-sorokin","status":"publish","type":"post","link":"https:\/\/prosefest.rs\/en\/2008\/vladimir-sorokin\/","title":{"rendered":"Vladimir Sorokin"},"content":{"rendered":"

\"Vladimir<\/a>Vladimir Sorokin<\/b> was born on August 7, 1955 in the small town of Bykovo, near Moscow. He made his lite\u00adrary debut in 1972 in the large industrial newspaper Za kadry neftyanikov. <\/i>In 1977, he graduated from the Mos\u00adcow Instutute of Oil and Gas with a degree in enginee\u00adring, but quickly abandoned this field to pursue his in\u00adterests in in graphic arts, painting, and conceptual art. Throughout the 1970s, Sorokin participated in a num\u00adber of art exhibitions and designed and illustrated ne\u00adarly 50 books.<\/p>\n

Sorokin\u2019s development as a writer took place amidst painters and writers of the Moscow underground sce\u00adne of the 1980s. In 1985, six of Sorokin\u2019s stories appea\u00adred in the Paris magazine A-Ya<\/i>. In the same year, French publisher Syntaxe published his novel \u201d\u041e\u0447\u0435\u0440\u0435\u0434\u044c\u201c <\/i>(The Queue).<\/p>\n

Sorokin\u2019s works, bright and striking examples of un\u00adderground culture, were banned during the Soviet pe\u00adriod. His first publication in the USSR appeared in No\u00advember 1989, when the Riga-based Latvian magazine \u201c\u0420\u043e\u0434\u043d\u0438\u043a\u201d (Spring) presented a group of Sorokin\u2019s stori\u00ades. Soon after, his stories appeared in Russian literary miscellanies and magazines \u201c\u0422\u0440\u0435\u0442\u044c\u044f \u043c\u043e\u0434\u0435\u0440\u043d\u0438\u0437\u0430\u0446\u0438\u044f\u201d<\/p>\n

(The Third Modernization), \u041c\u0438\u0442\u0438\u043d, \u201c\u041a\u043e\u043d\u0435\u0446 \u0432\u0435\u043a\u0430\u201d (End of the Century), and \u201c\u0412\u0435\u0441\u0442\u043d\u0438\u043a \u043d\u043e\u0432\u043e\u0439 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u044b\u201d (Bulletin of the New Literature). In 1992, Russian publis\u00adhing house Russlit published \u0421\u0431\u043e\u0440\u043d\u0438\u043a \u0440\u0430\u0441\u0441\u043a\u0430\u0437\u043e\u0432 <\/i>(Co\u00adllected Stories) \u2013 Sorokin\u2019s first book to be nominated for a Russian Booker Award. In September 2001, Vladi\u00admir Sorokin received the National Booker Award; two months later, he was presented with the Award of An\u00addrey Beliy for outstanding contributions to Russian li\u00adterature.<\/p>\n

Sorokin\u2019s books have been translated into English, French, German, Dutch, Finnish, Swedish, Italian, Po\u00adlish, Japanese, and Korean and are available through a number of prominent publishing houses, including Gallimard, Fischer, DuMont, BV Berlin, Haffman, and Verlag der Autoren.<\/p>\n

He is also a member of Russian Pen club.<\/p>\n

Sorokin lives in Moscow with his wife and twin daugh\u00adters.<\/p>\n

Sorokin\u2019s Works:<\/p>\n

Novels<\/p>\n

\u0414\u0435\u043d\u044c \u043e\u043f\u0440\u0438\u0447\u043d\u0438\u043a\u0430<\/i><\/b>, Moscow: Zakharov, 2006<\/p>\n

23000<\/i><\/b>, Moscow: Zakharov, 2005<\/p>\n

\u041f\u0443\u0442\u044c \u0411\u0440\u043e <\/i><\/b>(Bro\u2019s way) Moscow: Zakharov, 2004.<\/p>\n

\u041b\u0435\u0434 <\/i><\/b>(Ice) Moscow: Ad Marginem, 2002.<\/p>\n

\u041f\u0438\u0440 <\/i><\/b>(The Feast) Moscow: Ad Marginem, 2000.<\/p>\n

\u0413\u043e\u043b\u0443\u0431\u043e\u0435 \u0421\u0430\u043b\u043e <\/i><\/b>(Blue Fat, or Blue Lard) Moscow: Ad Marginem, 1999.<\/p>\n

\u041f\u0435\u0440\u0432\u044b\u0439 \u0421\u0443\u0431\u0431\u043e\u0442\u043d\u0438\u043a <\/i><\/b>(The First Saturday Workday) In Collected Works in Two Volumes. <\/i>Moscow: Ad Marginem, 1998.<\/p>\n

\u0421\u0435\u0440\u0434\u0446\u0430 \u0427\u0435\u0442\u044b\u0440\u0435\u0445 <\/i><\/b>(Four Stout Hearts) Moscow: Lite\u00adrary Miscellany \u201d\u041a\u043e\u043d\u0435\u0446 \u0412\u0435\u043a\u0430\u201d, 1994.<\/p>\n

\u0422\u0440\u0438\u0434\u0446\u0430\u0442\u0430\u044f \u043b\u044e\u0431\u043e\u0432\u044c \u041c\u0430\u0440\u0438\u043d\u044b <\/i><\/b>(Marina\u2019s Thirtienth Love) Moscow, R. Elinina, 1995.<\/p>\n

\u0420\u043e\u043c\u0430\u043d <\/i><\/b>(A Novel), Moscow, \u201e\u0422\u0440\u0438 \u041a\u0438\u0442\u0430\u201c in cooperation with Obscuri Viri, 1994.<\/p>\n

\u041d\u043e\u0440\u043c\u0430 <\/i><\/b>(The Norm), Moscow, \u201e\u0422\u0440\u0438 \u041a\u0438\u0442\u0430\u201c in cooperati\u00adon with Obscuri Viri, 1994.<\/p>\n

\u041e\u0447\u0435\u0440\u0435\u0434\u044c <\/i><\/b>(The Queue), Paris: Syntaxe, 1985.<\/p>\n

Plays, published in various magazines<\/p>\n

\u0414\u043e\u0432\u0435\u0440\u0438\u0435 <\/i><\/b>(Confidence) [1989].<\/p>\n

Hochzeitreise <\/i><\/b>(The Post-Nuptial Journey) [1994-1995].<\/p>\n

\u0414\u0438\u0441\u043c\u043e\u0440\u0444\u043e\u043c\u0430\u043d\u0438\u044f <\/i><\/b>(Dismorphomania) <\/i>[1990].<\/p>\n

\u041f\u0435\u043b\u044c\u043c\u0435\u043d\u0438 <\/i><\/b>[1984-1987].<\/p>\n

\u0414\u043e\u0441\u0442\u043e\u0435\u0432\u0441\u043a\u0443-<\/b>\u0422\u0440\u0438\u043f <\/b>[1997].<\/p>\n

\u0420\u0443\u0441\u0441\u043a\u0430\u044f \u0431\u0430\u0431\u0443\u0448\u043a\u0430 <\/i><\/b>(Russian Grandmother) [1988].<\/p>\n

\u0429\u0438 <\/i><\/b>(Cabbage Soup) [1995-1996].<\/p>\n

\u0421 \u041d\u043e\u0432\u044b\u043c \u0413\u043e\u0434\u043e\u043c <\/i><\/b>(Happy New Year) [1998].<\/p>\n

\u042e\u0431\u0438\u043b\u0435\u0439 <\/i><\/b>(Anniversary) [1993].<\/p>\n

\u0417\u0435\u043c\u043b\u044f\u043d\u043a\u0430 <\/i><\/b>(The Hut, or Earth-house) [1985].<\/p>\n

Film Scripts<\/p>\n

\u0411\u0435\u0437\u0443\u043c\u043d\u044b\u0439 \u0424\u0440\u0438\u0446 <\/i><\/b>(Mad Fritz), 1994. Directors: Tatiana Didenko and Alexander Shamaysky.<\/p>\n

\u041c\u043e\u0441\u043a\u0432\u0430 <\/i><\/b>(Moscow), 2001. Director: Alexander Zeldovi\u00adch. First Prize on the festival in Bonn; Award of Federa\u00adtion of Russian Film-Clubs for best Russian movie of the year.<\/p>\n

\u041a\u043e\u043f\u0435\u0439\u043a\u0430 <\/i><\/b>(Kopeck), 2002. Director: Ivan Dykhovichny. Nomination for Award \u201cZolotoy Oven\u201d for best film script.<\/p>\n

4 <\/i><\/b>(Four), 2004. Director: Ilya Khrzhanovsky. Grand Jury Prize of International Film Festival Rotterdam.<\/p>\n

\u0412\u0435\u0449\u044c <\/i><\/b>(Thing). Director: Ivan Dykhovichny.<\/p>\n

Cashfire<\/i><\/b>. Director: Alexander Zeldovich.<\/p>\n

Photograph album \u0412 \u0433\u043b\u0443\u0431\u044c \u0420\u043e\u0441\u0441\u0438\u0438 <\/i><\/b>(In the Depths of Russia), in cooperation with painter Oleg Kulik.<\/p>\n

Libretto for opera \u0414\u0435\u0442\u0438 \u0420\u043e\u0437\u0435\u043d\u0442\u0430\u043b\u044f <\/i><\/b>(Rosenthal\u2019s Chil\u00addren), with music by Mikhail Desyatnikov; written on request of the Bolshoi Theater, Moscow.<\/p>\n

…dozens of stories published in Russian and foreign periodicals.<\/p>\n

Note: for a comprehensive list of Sorokin\u2019s publicati\u00adons, please see<\/p>\n

http:\/\/www.srkn.ru\/bibliography\/<\/p>\n

About Sorokin<\/b><\/p>\n

Sorokin is a writer who is not only demolishing literary and cultural taboos in his works, but also challenging the notion of literature itself, and the role of the reader in the literary process. In all his major works he seems to be asking the reader: dare you read on?<\/p>\n

For Sorokin, the act of writing is an author\u2019s attempt to come to terms with his own psyche, or to shield it from reality. Therefore there is a strong aftertaste of psycho\u00adanalysis left when reading his works.<\/p>\n

A key feature of Sorokin\u2019s texts is the disintegration of syntax into nonsensical letter and word combinations: it is as if the text has had a nervous breakdown. Sorokin\u2019s text becomes a mirror of the social and politi\u00adcal reality it is meant to represent. His writing does not preach or teach, in the classical Russian tradition, but instead urges the reader to be an active participant in the construction of meaning or \u201csignificance\u201d.<\/p>\n

Sorokin deliberately shocks his reader, and he also plays around with literary conventions, whether they be of the classical variety, as in A Novel, <\/i>or the pulp ficti\u00adon that became so popular in Russia in the early 1990s.<\/p>\n

Sorokin\u2019s written work attacks the symbols of totalita\u00adrianism, turning both reality and the text into a gro\u00adtesque and nightmarish phantasmagoria.<\/p>\n

David Gillespie and Elena Smirnova, University of Bath <\/i><\/p>\n

About \u201eNorma\u201d<\/b><\/p>\n

Sorokin\u2019s narrative strategy is emphatically postmo\u00addern, but at the same time Norma <\/i>can be deeply linked to the realistic tradition of the Russian novel. The goal of Gogol\u2019s Dead Souls <\/i>was the same: to reflect critically and ironically Russia\u2019s historical reality, to transmit it \u201cjust as it was.\u201d Norma <\/i>is (post)modern in its form, and (post)realistic in its content.<\/p>\n

Juri Talvet, University of Tartu, Estonia<\/i><\/p>","protected":false},"excerpt":{"rendered":"

Vladimir Sorokin was born on August 7, 1955 in the small town of Bykovo, near Moscow. He made his lite\u00adrary debut in 1972 in the large industrial newspaper Za kadry neftyanikov. In 1977, he graduated from the Mos\u00adcow Instutute of Oil and Gas with a degree in enginee\u00adring, but quickly abandoned this field to pursue […]<\/p>\n","protected":false},"author":2,"featured_media":576,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"ngg_post_thumbnail":0,"footnotes":""},"categories":[9,36],"tags":[],"class_list":["post-539","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-9","category-ucesnici-2008"],"acf":[],"_links":{"self":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts\/539","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/comments?post=539"}],"version-history":[{"count":6,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts\/539\/revisions"}],"predecessor-version":[{"id":3877,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts\/539\/revisions\/3877"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/media\/576"}],"wp:attachment":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/media?parent=539"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/categories?post=539"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/tags?post=539"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}