This book is the first edition of the novel by Eduard Limonov, the manuscript of which was considered lost for many years. The main events of the novel take place over three May days in 1969, but while adhering to this...
chronological framework, the writer makes its boundaries extremely permeable, recounting how he moved from Kharkov to Moscow with Anna Rubinstein, how he tried to fit into a rather heterogeneous poetic community, searched for housing and means of subsistence, earning by sewing bags and pants. Before the reader unfolds Moscow at the twilight of the thaw, bohemian and creative. Among the characters of this book are Arseny Tarkovsky, Ernst Neizvestny, Ilya Kabakov, Leonid Gubanov, and other participants of the legendary SMOG, Igor Kholin, Vagrich Bakhchanyan, Anatoly Brusilovsky, Heinrich Sapgir, and many others. Written after the famous New York trilogy, the novel "Moscow in May" precedes it plot-wise: Limonov writes the text already in the mid-1980s in Paris, leaving behind both the Moscow and American period, and this perspective allows the reader to see the narrator in two dimensions at once.
This book is the first edition of the novel by Eduard Limonov, the manuscript of which was considered lost for many years. The main events of the novel take place over three May days in 1969, but while adhering to this chronological framework, the writer makes its boundaries extremely permeable, recounting how he moved from Kharkov to Moscow with Anna Rubinstein, how he tried to fit into a rather heterogeneous poetic community, searched for housing and means of subsistence, earning by sewing bags and pants. Before the reader unfolds Moscow at the twilight of the thaw, bohemian and creative. Among the characters of this book are Arseny Tarkovsky, Ernst Neizvestny, Ilya Kabakov, Leonid Gubanov, and other participants of the legendary SMOG, Igor Kholin, Vagrich Bakhchanyan, Anatoly Brusilovsky, Heinrich Sapgir, and many others. Written after the famous New York trilogy, the novel "Moscow in May" precedes it plot-wise: Limonov writes the text already in the mid-1980s in Paris, leaving behind both the Moscow and American period, and this perspective allows the reader to see the narrator in two dimensions at once.
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