Olga Slavnikova: 2017

It’s hard not to think of twentieth-century Russian history as you crack open 2017, Olga Slavnikova’s Russian Booker Prize winning novel. The year 2017 will mark, of course, the 100th anniversary of the Russian Revolution, which culminated in the collapse of the Czarist autocracy and gave rise to the Soviet Union. It’s against this backdrop that readers enter this novel: a pot brimming with precious stones, a dash of spy novel intrigue, and a raw-to-the-bone social critique bubbling and boiling in a dense, evocative stew.
Excuse the metaphor. This is not a novel of food—far from it. But 2017 is a novel that asks you to savor it slowly, bite by bite. Translator Marian Schwartz, one of the most accomplished Russian translators working today—who has translated the works of Nina Berberova, Edvard Radzinsky, and Mikhail Bulgakov, among others—has recreated Slavnikova’s dense novel in a smooth, eminently enjoyable English text. Passages describing the craft of obscure trades like gemcutting or rock-hounding flow from sentence to sentence with ease, making the translation seem effortless.
At its core, 2017 is a deceptively simple novel that explores the notion of authenticity in a modern life. In the mythical region of the Riphean Mountains, a gifted gem cutter named Krylov meets a woman named Tanya who, unbeknownst to him, happens to be the wife of his rich but humorless mentor, the professor and gem trader Anfilogov. Krylov and Tanya begin a torrid affair that finds them in new beds each time they meet. Meanwhile Krylov’s ex-wife, Tamara, a wealthy and powerful funeral director who still has her eyes set on Krylov, enters the picture and thinks it’s about time she and Krylov get back together again. And what about that rotund spy trailing Tanya and Krylov’s every move? Well, he may or may not have been hired by Tamara to keep track of their affair.
2017 is, in short, a playfully fun novel that uses farcical elements and outlandish, oversized characters to beguile you into reading further. For instance, in one particularly fun sentence, Dickens-like in its wit, we get the following description of the spy: “His mustache looked like it had been drawn on by a graffiti artist provoked by all the blank space on his face.”
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