Autobiography of a Corpse [Paperback]

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  • Category: Books (Fiction)
  • Author:  Krzhizhanovsky, Sigizmund
  • Author:  Krzhizhanovsky, Sigizmund
  • ISBN-10:  1590176707
  • ISBN-10:  1590176707
  • ISBN-13:  9781590176702
  • ISBN-13:  9781590176702
  • Publisher:  NYRB Classics
  • Publisher:  NYRB Classics
  • Pages:  256
  • Pages:  256
  • Binding:  Paperback
  • Binding:  Paperback
  • Pub Date:  01-Jul-2013
  • Pub Date:  01-Jul-2013
  • SKU:  1590176707-11-SPLV
  • SKU:  1590176707-11-SPLV
  • Item ID: 100388631
  • List Price: $16.95
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An NYRB Classics Original

Winner of the  2014 PEN Translation Prize

Winner of the 2014 Read Russia Prize

The stakes are wildly high in Sigizmund Krzhizhanovsky’s fantastic and blackly comic philosophical fables, which abound in nested narratives and wild paradoxes. This new collection of eleven mind-bending and spellbinding tales includes some of Krzhizhanovsky’s most dazzling conceits: a provincial journalist who moves to Moscow finds his existence consumed by the autobiography of his room’s previous occupant; the fingers of a celebrated pianist’s right hand run away to spend a night alone on the city streets; a man’s lifelong quest to bite his own elbow inspires both a hugely popular circus act and a new refutation of Kant. Ordinary reality cracks open before our eyes in the pages ofAutobiography of a Corpse, and the extraordinary spills out.“Sly, vibrant, and often very funny, Krzhizhanovsky’s stories, originally written in the 1920s and ’30s (though virtually unpublished during the author’s lifetime), are a joy… Full of precise detail, this book will instruct, delight, and then leave the reader pondering long after the reading is finished.” —Publishers Weekly

The stories in this collection by the early Soviet writer Sigizmund Krzhizhanovsky are nearly as fantastic as the crashing combination of consonants at the beginning of his surname.   —The New York Times Book Review

“As to the question of why he still deserves to be read, these stories represent strong entries in two different traditions of Russian literature: firstly, the unhinged, feverishly experimental universe, in which a pianist’s fingers can detach themselves from his hand and flee down the aisle of the concert hall, or where a cold man on the streets of Moscow can remove a strip of paper from a notepad and jot something down, tralóå

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