Interest in Vladimir Sorokin’s works in translation tends to focus on their extremism and dystopia – trademarks of his fantastically-rendered observations of the Soviet Union and contemporary Russia under an infinite bureaucracy. Less emphasis is placed on the empathy that elevates the stories from violence and a pre-occupation with bodily fluids to a discomforting sense of familiarity. In his introduction to Red Pyramid, Will Self writesthat Sorokin’s detractors accuse him of peddling pornography. But its relevance is without question. If reality is said to be stranger than fiction, Sorokin’s fiction goes further, to make the point that the pornographic, as he writes it, is a way of bearing witness to the past and present. In service to this, pornography’s opposite in the forms of innocence and tenderness must be recognised as equally important.
Red Pyramid’s stories, dating from the 1980s to the 2000s, reveal tender moments like a fly cradled in the heart of a Venus flytrap.
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