Officially, the book is a travelogue-cum-cultural history, tracing the author’s journey across the 14 countries bordering the world’s largest country. (Of them, only the author’s native Norway was never occupied by Russia.) In practice, however, the book is a hauntingly lyrical meditation to the contingencies of history, the sheer arbitrariness of dividing lines and border posts, of namesakes forgotten and remembered, of successful and unsuccessful wars ... Ms. Fatland sets out, she tells us (via Kari Dickson’s archly smooth, British-inflected translation), 'to understand a country and its people from the outside, from the perspective of its neighbours,' to identify a quintessential 'Russianness' through an investigation of the often-liminal spaces of its periphery ... What Ms. Fatland succeeds in doing, to the book’s credit, is both greater in scale and more intimate than her stated aim. Through a series of slickly told, vignette-style chapters, moving from the uncanny valley of North Korean package tours to drunken revelry in the Georgian mountains, Ms. Fatland offers less an account of Russianness than of its subversion: a polyphonic vision of often-arbitrary identities, histories and voices. The idea that we can speak meaningfully about capital-h History comes across, in Ms. Fatland’s wry telling, as faintly absurd ... Borders, for the people Ms. Fatland interviews along her journey, are less about identity than about practicality ... s. Fatland’s greatest gift, after all, is listening and saying nothing, allowing the people she meets to reveal themselves in meticulously rendered dramatic monologues, capturing their tics, eccentricities and detailed personal histories. She revels in the complexity of her interviewees as individuals, not examples.
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