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The Underground By Hamid Ismailov

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Sales Rank: #1376228 in eBooks
Published on: 2014-01-10
Released on: 2014-01-10
Format: Kindle eBook

Review
"Ismailov tells a haunting tale of an Afro-Russian boy's search for love. Generous in spirit yet unsparing in its honesty, The Underground illuminates a loneliness that is as devastating as it is universal. In breathtaking prose, Ismailov reminds us again and again that even the slimmest thread of light can pierce through the darkest of days."

—Maaza Mengiste, author of Beneath the Lion's Gaze

“In reading Hamid Ismailov's The Underground, I found the hard-won wisdom of Ralph Ellison's Invisible Man in conversation with the boyhood lyricism of Anne Carson's Autobiography Of Red. But most crucially, simmering just under the skin of every word, I heard Ismailov's own heartbeat: haunted, beautiful even when strained, and insistent. The world has conspired to keep this necessary and timely novel a secret for too long.”

—Saeed Jones, author of Prelude to a Bruise

“One of the best Russian novels of the twenty-first century”

—Continent Magazine

"Hamid Ismailov has the capacity of Salman Rushdie at his best to show the grotesque realization of history on the ground."

—Literary Review

"A writer of immense poetic power."

—The Guardian

“The Underground, Ismailov’s latest novel published in English, depicts the brutal separation between the hopes and realities of social integration on the threshold of the collapse of the Soviet Union. The dark and picaresque tale follows the life and death of the young Mbobo (also the book’s title in Russian) in a series of vignettes marked by the grand stations of the city’s metropolitan transportation system.”

—f news magazine

“Wonderful…. Intimate details from a specific era and location enrich Ismailov’s novel. Kirill’s memories of seasons and stations become a nostalgic elegy for the bittersweet cityscape of late-Soviet Moscow.… The imagery is visceral.… Ismailov’s work, like Pushkin’s and like Platonov’s, is a profound and haunting exploration of place and time. Just as The Railway conjures up a multifaceted Uzbek town and The Dead Lake is rooted in the tortured vastness of the Steppe, so The Underground creates a spiritual and cultural map of Moscow.”

—The Kompass

"Ismailov’s works blend a keen awareness of the cosmopolitanism of the Soviet project, with its feverish drive for modernization.… It also pays homage to the rich tapestry of Russian—and Soviet—literature, and the interplay between the two.The Underground’s structure is reminiscent of Yerofeyev’s Moscow to the End of the Line; and Ismailov delights in pan-Soviet literary references, from Abkhazia’s Fazil Iskander and Chuvashia’s Gennady Aygi to Odessa’s ‘Ilf and Petrov’ and Nobel laureate Ivan Bunin. Ismailov sees himself as part of the Russian literary tradition (his prose has been compared to Bulgakov, Gogol, and Platonov).… Ismailov's novel is a deep examination of the confusions of Soviet and post-Soviet ‘Russianness.'… An intricate portrait of an all too foreign loss: the disappearance of one’s country."

—openDemocracy

About the Author
Born in an ancient city in what is now Kyrgyzstan, Hamid Ismailov is an Uzbek novelist and poet who was forced to leave his home in Tashkent when his writing brought him to the attention of government officials. Under threat of arrest, he moved to London and joined the BBC World Service, where he is now Head of the Central Asian Service. In addition to journalism, Ismailov is a prolific writer of poetry and prose, and his books have been published in Uzbek, Russian, French, German, Turkish, English and other languages. His work is still banned in Uzbekistan. He is the author of many novels, including Sobranie Utonchyonnyh, Le Vagabond Flamboyant, Two Lost to Life, The Railway, Hostage to Celestial Turks, Googling for Soul, The Underground, A Poet and Bin-Laden, and The Dead Lake; poetry collections including Sad (Garden) and Pustynya (Desert); and books of visual poetry including Post Faustum and Kniga Otsutstvi. He has translated Russian and Western classics into Uzbek, and Uzbek and Persian classics into Russian and several Western languages.

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