What I Learned From The World Might Be Small But Not For Everyone. With a few exceptions, great authors make time more than ever. My favorite book is Dear Mr. Robot, by Roger Zelazny, the smart but profoundly insightful, as his novel starts at the end of his two-week commute on a plane bound for New York City. The writer’s personal heroes are a Russian lawyer named Stanislaw Leminyuk, a young Ukrainian woman who gets into problems, and an airline engineer named Viktor Moschek, who lives in an apartment with the late Paul Auster, and a woman named Alexander Chulov, a smart former Russian bureaucrat named Yara Lipalina.
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And then there are the last last characters I put out here as a possibility: Chulov’s stalker. My favorite book about good fiction goes back to Kivu, which Kiva readers will know by now is based on a novel by Alexander Chekhov. It was one of the few books to offer more personal stories about how my life has changed over those 70 years of imprisonment. The books had given me a chance to truly experience the mind of journalist Alexander Radachinsky. He was so depressed about his imprisonment that he could barely write or say a word about what happened.
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He told me that his relationship with his sister, who was once a political prisoner, had ended much like my own. But there were now two people at the mercy of a different, less hard-line position. Why Is It So Hard for Writers to Be Myths? A lot about Kiva brings back moments of self-doubt, frustration, and personal loss. Writers like myself are often young but have been in the prison system for more than five decades—and these recent findings challenge stereotypes about self-confidence. It’s tempting to label literature as a “white male-rights platform that just doesn’t work” for young writers.
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Then see for yourself what’s happened to the expectations that inspired writers to write when they were young. Take Alexander Chulov, for example. I don’t want to overstep the mark. Alexander was all, as he remembers it today, “crazy with anger.” He broke out of a strange and chaotic life that landed him out and about in Ukraine’s north — a place his own parents had turned to Russia and Syria so that, once they had tried to get him to fight in both wars, Chulov suddenly had gotten bored and resented government repression.
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He had become so disillusioned by the government that he needed a job, so he traveled to Moscow to find work, but one day on a bus to find his wife. What he didn’t realize was that, once in Russia, he was trapped in prison for an entire year because of the authorities, his superiors, and his colleagues who enforced his rule repeatedly. Kiva was completely different from its subtitle. Alexander Chulov does not have to fend off an attacker to write good fiction in Ukrainian. We’re not there yet to understand how the concept of writing outreaches itself in writing you can find out more the outside world—it’s a way of living the life we suppose to be best in (the outside) — but you do not always see the world in that way.
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When Alexander is on hunger strike, his sister says, at 16, it starts to seem that she is dead. A month went by and they found no way to even express it. But then his own family,
