This week is the annual Banned Books Week, a time to celebrate the bravery of writers who face threats and suppression for putting their ideas to the page. At Restless Books, we seek out voices that are silenced and ignite discourse. In today’s political environment, with its amped-up rhetoric of fear, hatred, and distrust of people and viewpoints that are “other,” the project of listening to what oppressed voices have to say has become critical. This week we pay our respects to writers who have faced jail time and violence in order to speak their truths.
Fardwor, Russia! A Fantastical Tale of Life Under Putin and The Underground are illuminating works by two such writers. Oleg Kashin was beaten nearly to death just two days after he submitted his manuscript for Fardwor, Russia! for his political commentary and articles speaking out against Putin. Hamid Ismailov, author of The Underground, was forced to flee Uzbekistan because of his writing; his work is still banned there today.
We’re not the only ones committed to supporting such writers—some of our pals and peers at other great indie publishers been putting out notable suppressed works: The Year of the Comet by Sergei Lebedev (published by New Vessel Press), The Accusation by Bandi (published by Grove Press), Home by Leila S. Chudori (published by Deep Vellum Press), Maidenhair by Mikhail Shishkin (published by Open Letter), Diaries of Exile by Yannis Ritsos (published by Archipelago Books), and Country of Ash by Edward Reicher (published by Bellevue Literary Press).
It is our responsibility, as the beneficiaries of their words, to promote their works so that they do not fall into obscurity or disappear, and to celebrate their ability to inspire people to action against oppressive regimes that are afraid of the power of the written word.
The Underground
Reviews and Press for 'The Underground' by Hamid Ismailov
Updated September 25, 2015
PRAISE AND HIGHLIGHTS
A SUCCESSFUL LAUNCH IN LONDON
Hamid Ismailov had a standing-room only crowd at Waterstones Piccadilly, “Europe’s Largest Bookshop,” for the launch of his novel The Underground. Ismailov was joined in conversation by the book's translator, Carol Ermakova, and Hugh Barnes, a journalist and specialist on Russian matters. Read all about it on the Turnaround Blog.
THE GUARDIAN: "A LUMINOUS ELEGY FOR LATE-SOVIET MOSCOW"
“Exiled Uzbek writer Hamid Ismailov weaves this story of mundane misery and visceral decay into a luminous elegy for late-Soviet Moscow.… Ably translated by Carol Ermakova.… Ismailov’s novel inevitably invites comparison with Dostoevsky’s Notes from Underground.… The Underground recreates a lost Moscow. The narrator’s memories map out a haunting, bittersweet cityscape, with landmarks that no longer exist and names that have long since changed.” —The Guardian
HAMID ISMAILOV INTERVIEWED BY ELECTRIC LITERATURE
Electric Literature published a frank and illuminating conversation between Hamid Ismailov and Melody Nixon, about “censorship and creativity, political economy, and life for writers outside of the global centers of literary production.” Here he is on diversity in literature:
"What I lacked as a reader and writer in the Soviet era, from childhood onwards, was a depiction of the reality that was around me. I was in a melting pot of all kinds of nations, cultures, beliefs, faiths and civilizations, and I didn’t see the richness of these experiences depicted in Soviet literature.... In coming to the west I all of sudden realized it was an even bigger problem for western literature than for Soviet. In Ian McEwan’s famous books you hardly meet any Black people, or Caribbean people, or Chinese. Take wonderful Kazuo Ishiguro, who is himself Japanese by origin. Almost all his books are about English people, and that’s it. So in the mainstream English literature you can’t see any multi-national, or other realities apart from rare exceptions."
EVENTS
FROM THE BLOG
ALL REVIEWS AND COVERAGE
2Paragraphs: Interview with Hamid Ismailov
Body: Excerpt from The Underground
BookPage.com: What We're Reading
Curb (blog): First Class
f news magazine: The brief life of an “Olympian”
Electric Literature: The Peripheral Writer: An Interview With Hamid Ismailov
The Guardian: Review of The Underground
The Independent: Review of The Underground
The Kompass: Ismailov: “Russian literature is in my blood”
LargeHearted Boy: Book Notes - Hamid Ismailov, The Underground
Literary Hub: How American Literature Looks from Abroad ; A Google Tour Through The Underground
New Internationalist: Review of The Underground
The New Inquiry: A Dark City
Molossus: Unexpectedly Delicious Fruit: Ismailov on Uzbek Literature
openDemocracy: Review of The Underground
Square Books (Oxford, MS): Review of The Underground
Transitions Online: An Uzbek Writer’s Tunnel Vision of Moscow
Typographical Era: New in Translation September 2015
Varsity: Interview with Hamid Ismailov
For media and publicity requests, contact Nathan Rostron.
Authors Around the World: Uzbekistan
An exile like the Uzbek literary icons he mentions in this interview, novelist and journalist Hamid Ismailov fled his native country under threat of arrest in 1992. He spent time in Moscow and Paris before settling in London, where he lives now. Since departing Uzbekistan, he has played an active role in drawing attention to its troubling political circumstances, largely through his work with the BBC. However, Ismailov says, “Uzbekistan is the last place people are likely to talk about me.”
Although his work remains banned in Uzbekistan, Ismailov has found audiences all over the world, and has published not only in Uzbek and Russian but also in English, French, German, Turkish, and other languages. The Railway, a masterful novel Ismailov composed before his forced emigration, is out this month from Restless Books.
In this latest installment of Restless Books' Authors Around the World interview series, Ismailov speaks with us about the habits of the itinerant writer, the “island mentality” of a landlocked nation, and the Uzbek roots of The Arabian Nights.
1. Describe your preferred writing spaces, whether that’s when you’re in London or when you lived in Uzbekistan or the places you lived in between.
My writing space moves with me. One part of me comes from a nomadic background when you mount on the horse whatever you need for your survival. So all I need is a square meter and a pen and paper (or any replacement for them, like a Blackberry). All my life I write not because of a certain circumstances, but despite them.
2. As a writer, what’s the most inspiring thing to you about Uzbekistan? About England?
In both cases the language and people, their literature and history, then the geography. Brits and Uzbeks (and also possibly Japanese) are strangely similar in their makeup. The British and Japanese “island mentality” is quite widely researched and described. Less known is the Uzbek “island” mentality in the very middle of the Eurasian continent. The country is locked from all sides either by impassable steppes or deserts or the steep walls of mountains. Those who have been to Uzbekistan might remember the main monument on the central square of the capital—a globe with one country on it. Guess which country?
So bringing everything together, maybe deciphering these mentalities is the most inspiring thing for me.
3. What aspect of living in Uzbekistan is most difficult to convey to people from elsewhere?
The fact that you are living not in real life, but rather in a Kafka novel, and yet you consider and sometime shout that you are living real life.
4. What’s the first book you would recommend to a visitor to Uzbekistan who wants to understand the place?
The Railway for the background and A Poet and Bin Laden for the latest. It’s not an advertisement for my own books, but rather practical and pragmatic advice. Unfortunately there are no translated books, unless you read Russian. But even so, I’d recommend the same books.
5. What is your favorite idiom in Uzbek or Russian?
Too many to mention. I’m not a monophiliac person, who can easily choose his favorite this and that. What I love is interaction between this and that, be it colors, words, idioms, nations, civilizations, etc. There’s a famous tongue-in-cheek saying in Uzbek: “What’s the point in the greatness of the world if you have narrow shoes?” So my take is the opposite: “What’s the point of putting on narrow shoes if the world is so great?” So both literally and figuratively I love to walk barefoot.
6. What’s the literary culture like in Uzbekistan? Who are its literary icons, past and present?
Not many people pay attention that the narrator of One Thousand and One Nights. Scheherazade and her listener King Shahriyor are situated in Samarkand, one of the cities of modern Uzbekistan. So that is the land glorified by the biggest of lived poets and storytellers.
The greatest poet of all time, Hafez, said in one of his iconic poems:
That beautiful Shirazi Turk, took control and my heart stole,
I'll give Samarkand and Bukhara, for her Hindu beauty mole.
Of the same city of Samarkand the great English playwright Christopher Marlowe wrote that Tamerlane's “shining turrets distressed heaven.”
There’s something our literary icons have in common, though. Nearly all of them—Alisher Navoi (fifteenth century), Mashrab (seventeenth century), Abdulla Qadyri, Chulpon, Usman Nasyr (all twentieth century)—were either exiled or executed during their lifetime. So acknowledgment comes in our culture mostly when you are dead. Not a very encouraging prospect for the living authors…
7. What do most Americans misunderstand about Uzbekistan? What do most Uzbeks misunderstand about America?
I guess that common people look at the geography and the size of the country and put this or that country accordingly in their mental charts. I’m sure that Uzbekistan is pretty low in those people’s tables. What they might not know, the fact that every nation and ethnicity in the world considers itself as the focal point of the universe. Mind also that the Uzbek and British ran empires much bigger by territory than the contemporary United States!
But that might be my—an Uzbek’s—misunderstanding about America.
8. What do you think the leader of Uzbekistan reads?
I know for a fact that he reads the briefings prepared for him by the National Security Service on what is said about him in the foreign press; he reads speeches prepared for him by his speechwriters, some of whom luckily are or were good writers. I guess he read some Russian novels when he was young, but I can’t imagine that he read, reads, or will be reading any Uzbek fiction.
9. What’s an apt metaphor for being a writer in Uzbekistan?
Die before your death, or even better: die before you were born, with a disclaimer, that it’s my take. Others might have different views, especially if they still live in Uzbekistan.
10. Tell us your favorite local joke.
Just to reinstate the point that I’m not a monophiliac I’ll give you this one:
Mulla Nasreddin found himself in between two arguing people who asked him to judge who was right. Mulla listened first to the first person and said, “You are right!” Then the other person brought his arguments and Nasreddin said to him, “You are right too!” Mulla’s wife listening to them, interfered, and said to her husband, “Look, stupid man, if one is right, the other must be wrong, or the other way around!” to which Mulla Nasreddin replied, “You know, you are right too!”
Fardwor, Russia! + Heartland + Checkpoint
Wildly funny and deadly serious: these novels serve you lesbian pulp noir in pre-apocalyptic America and razor-sharp critiques of war and Putin’s Russia.