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Books to read that tell Ukraine’s stories

9 classics to celebrate women in translation

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10 classics to celebrate International Women’s Day 

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10 classics to celebrate International Women’s Day

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7 travel writers you need to know

The Unwomanly Face of War

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'A must read' - Margaret Atwood 
 
'It would be hard to find a book that feels more important or original' - Viv Groskop, Observer 
 
Extraordinary stories from Soviet women who fought in the Second World War - from the winner of the Nobel Prize in Literature 
 
"Why, having stood up for and held their own place in a once absolutely male world, have women not stood up for their history? Their words and feelings? A whole world is hidden from us. Their war remains unknown... I want to write the history of that war. A women's history." 
 
In the late 1970s, Svetlana Alexievich set out to write her first book, The Unwomanly Face of War, when she realized that she grew up surrounded by women who had fought in the Second World War but whose stories were absent from official narratives. Travelling thousands of miles, she spent years interviewing hundreds of Soviet women - captains, tank drivers, snipers, pilots, nurses and doctors - who had experienced the war on the front lines, on the home front and in occupied territories. As it brings to light their most harrowing memories, this symphony of voices reveals a different side of war, a new range of feelings, smells and colours. 
 
After completing the manuscript in 1983, Alexievich was not allowed to publish it because it went against the state-sanctioned history of the war. With the dawn of Perestroika, a heavily censored edition came out in 1985 and it became a huge bestseller in the Soviet Union - the first in five books that have established her as the conscience of the twentieth century.

Extraordinary. . . it would be hard to find a book that feels more important or original. . . Alexievich's strength - and a mark of her own courage - is that she is forever on the lookout for the seemingly inconsequential, almost trivial human moments. . . Her achievement is as breathtaking as the experiences of these women are awe-inspiring

An astonishing book, harrowing and life-affirming. It deserves the widest possible readership

Paula Hawkins, author of The Girl on the Train

Magnificent. . . Alexievich doesn't just hear what these women say; she cares about how they speak. . . It's a mark of her exceptional mind that she tries to retain the incomprehensible in any human story

A revelation. . . Alexievich's text gives us precious details of the kind that breathe life into history . . . This is a book about emotions as much as it is about facts. It is not a historical document in the accepted sense. . . and yet ultimately, which historical documents are more important than this?

Astonishing. . . Her years of meticulous listening, her unobtrusiveness and her ear for the telling detail and the memorable story have made her an exceptional witness to modern times. . . This is oral history at its finest and it is also an essay on the power of memory, on what is remembered and what is forgotten

These stories about the women warriors of Mother Russia are a symphony of feminine suffering and strength. . . Read this book. And then read it again

Svetlana Alexievich (Author) Svetlana Alexievich was born in Ivano-Frankivsk in 1948 and has spent most of her life in the Soviet Union and present-day Belarus, with prolonged periods of exile in Western Europe. Starting out as a journalist, she developed her own, distinctive non-fiction genre which brings together a chorus of voices to describe a specific historical moment. Her works include The Unwomanly Face of War (1985), Last Witnesses (1985), Boys in Zinc (1991), Chernobyl Prayer (1997) and Second-Hand Time (2013). She has won many international awards, including the 2015 Nobel Prize in Literature for 'her polyphonic writings, a monument to suffering and courage in our time'. Richard Pevear (Translator) Richard Pevear, along with his wife Larissa Volokhonsky, has translated works by Tolstoy, Dostoevsky, Chekhov, Gogol, Bulgakov and Pasternak. They both were twice awarded the PEN/Book-of-the-Month Club Translation Prize (for Dostoevsky's The Brothers Karamazov and Tolstoy's Anna Karenina). They are married and live in France. Larissa Volokhonsky (Translator) Larissa Volokhonsky, along with her husband Richard Pevear, has translated works by Tolstoy, Dostoevsky, Chekhov, Gogol, Bulgakov and Pasternak. They both were twice awarded the PEN/Book-of-the-Month Club Translation Prize (for Dostoevsky's The Brothers Karamazov and Tolstoy's Anna Karenina). They are married and live in France.

"Why, having stood up for and held their own place in a once absolutely male world, have women not stood up for their history? A whole world is hidden from us. Their war remains unknown... I want to write the history of that war. A women's history." 
 
In the late 1970s, Svetlana Alexievich set out to write her first book, The Unwomanly Face of War, when she realized that she grew up surrounded by women who had fought in the Second World War but whose stories were absent from official narratives. Travelling thousands of miles, she spent years interviewing hundreds of Soviet women - captains, tank drivers, snipers, pilots, nurses and doctors - who had experienced the war on the front lines, on the home front and in occupied territories. 
 
With the dawn of Perestroika, a heavily censored edition came out in 1985 and it became a huge bestseller in the Soviet Union - the first in five books that have established her as the conscience of the twentieth century.

Boys in Zinc

Haunting stories from the Soviet-Afghan War from the winner of the Nobel Prize in Literature 
 
- A new translation of Zinky Boys based on the revised text - 
 
From 1979 to 1989 Soviet troops engaged in a devastating war in Afghanistan that claimed thousands of casualties on both sides. While the Soviet Union talked about a 'peace-keeping' mission, the dead were shipped back in sealed zinc coffins. Boys in Zinc presents the honest testimonies of soldiers, doctors and nurses, mothers, wives and siblings who describe the lasting effects of war. 
 
Weaving together their stories, Svetlana Alexievich shows us the truth of the Soviet-Afghan conflict: the killing and the beauty of small everyday moments, the shame of returned veterans, the worries of all those left behind. When it was first published in the USSR in 1991, Boys in Zinc sparked huge controversy for its unflinching, harrowing insight into the realities of war.

Superbly translated... Alexievich's choice of truth as hero is the right one for the age of Putin and Trump

As shattering and addictive as Chernobyl Prayer, this is a polyphonic tour de force that shines a light on war, the plight of heroes, and why post-Soviet Russia is as it is

Alexievich is like a doctor probing the scar tissue of a traumatised nation

What Alexievich is doing is giving voice to the voiceless, exposing not only stories we wouldn't otherwise hear but individuals as well

The least well-known wonderful writer I've ever come across

Alexievich serves no ideology, only an ideal: to listen closely enough to the ordinary voices of her time to orchestrate them into extraordinary books

The Belarusian writer has spent decades in listening mode. Alexievich put in thousands of hours with her tape recorder across the lands of the former Soviet Union, collecting and collating stories from ordinary people. She wove those tales into elegant books of such power and insight, that in 2015 she received the Nobel prize for literature

Alexievich's "documentary novels" are crafted and edited with a reporter's cool eye for detail and a poet's ear for the intricate rhythms of human speech. Reading them is like eavesdropping on a confessional. This is history at its rawest and most uncomfortably intimate

Alexievich's artistry has raised oral history to a totally different dimension

Svetlana Alexievich (Author) Svetlana Alexievich was born in Ivano-Frankivsk in 1948 and has spent most of her life in the Soviet Union and present-day Belarus, with prolonged periods of exile in Western Europe. Starting out as a journalist, she developed her own, distinctive non-fiction genre which brings together a chorus of voices to describe a specific historical moment. Her works include The Unwomanly Face of War (1985), Last Witnesses (1985), Boys in Zinc (1991), Chernobyl Prayer (1997) and Second-Hand Time (2013). She has won many international awards, including the 2015 Nobel Prize in Literature for 'her polyphonic writings, a monument to suffering and courage in our time'.

Penguin Modern Classics

Chernobyl Prayer

Voices from Chernobyl

Winner of the Nobel Prize in Literature 
 
'Desperately important and impossible to put down. It is timeless. . . what shines clear from the testimonies is love - love which can make you do the most spectacular things ' Sheena Patel, Observer 
 
'- A new translation of Voices from Chernobyl based on the revised version - 
 
In April 1986 a series of explosions shook the Chernobyl nuclear reactor. Flames lit up the sky and radiation escaped to contaminate the land and poison the people for years to come. While officials tried to hush up the accident, Svetlana Alexievich spent years collecting testimonies from survivors - clean-up workers, residents, firefighters, resettlers, widows, orphans - crafting their voices into a haunting oral history of fear, anger and uncertainty, but also dark humour and love. 
 
A chronicle of the past and a warning for our nuclear future, Chernobyl Prayer shows what it is like to bear witness, and remember in a world that wants you to forget. 
 
'Beautifully written. . . heart-breaking' - Arundhati Roy, Elle 
 
'One of the most humane and terrifying books I've ever read' - Helen Simpson, Observer

Absolutely essential and heartbreaking reading. There's a reason Ms. Alexievich won a Nobel Prize

Craig Mazin, creator of the HBO series Chernobyl

Desperately important and impossible to put down. It is timeless and has sparked so much thought about infinity, sacrifice, love and unspeakable grief. . .  what shines clear from the testimonies is love - love which can make you do the most spectacular things

A beautifully written book, it's been years since I had to look away from a page because it was just too heart-breaking to go on. Give me beautiful prose and I'll follow you anywhere

A collage of oral testimony that turns into the psycho&shy;biography of a nation not shown on any map... The book leaves radiation burns on the brain

A searing mix of eloquence and wordlessness... From her interviewees' monologues she creates history that the reader, at whatever distance from the events, can actually touch

One of the most humane and terrifying books I've ever read

Alexievich's documentary approach makes the experiences vivid, sometimes almost unbearably so - but it's a remarkably democratic way of constructing a book... When you consider the extent to which she has been traversing the irradiated landscape, you realise she has put herself on the line in a way very few authors ever do

A moving piece of polyphony, skilfully assembled from what must have been a huge mass of material... We are living in Alexievich's 'age of disasters'. This haunting book offers us at least some ways of thinking about that predicament

This masterly new translation by Anna Gunin and Arch Tait retains the nerve and pulse of the Russian

Alexievich assembles the previously silenced or unsung heroes into a chorus that has the power to move, stun and inspire awe. The result is a remarkable oral history, an essential read

Not merely a work of documentation but of excavation, of revealed meaning. It is hard to imagine how anyone in the West will read these cantos of loss and not feel a sense of communion, of a shared humanity

Awarding the Nobel Prize for Literature to Svetlana Alexievich is a brilliant choice that recalibrates the status of "non-fiction" in the literary canon

Through her books and her life itself, Alexievich has gained probably the world's deepest, most eloquent understanding of the post-Soviet condition

Alexievich retreats into the wings to let her subjects speak. But this is the art that conceals art. Her editor's flair for selection, contrast and emphasis, her almost cinematic touch with cuts, pans and close-ups, make her a documentary virtuoso

Her interviews go on for hours. She goes back for more. She transcribes. She discards three-quarters of her material. She polishes. She takes pains to convey the cadence of a person's words. It shows. The distilled work goes deep into the subject. She is after the ephemeral; the emotion behind written history; the "history of the soul." Here, she believes, is where the truth lies

This masterly new translation by Anna Gunin and Arch Tait retains the nerve and pulse of the Russian, conveying the angst and confusion of the narrators

The last book that made me cry... incredible

Svetlana Alexievich

Richard Pevear

Larissa Volokhonsky

A masterpiece of clear-eyed humility. . . Alexievich is the most inspired and inspiring of all Nobel prize winners, a genuine bearer of witness

Astonishing. . . Like the great Russian novels, these testimonials ring with emotional truth. . . Few people have ever conjured better the pain of loss

An antidote to nostalgic World War II narratives. . . Breathtaking, occasionally unbearably sad. Svetlana Alexievich is in a class of her own

A major work by one of our greatest living historians. . . a profound, revelatory book. Through an artfully crafted and sincerely empathetic technique of enticing, soothing, and teasing out - gentle, unobtrusive, knowing when to encourage and when to let a pause run its course - Alexievich uncovers some of the most evocative war stories ever published

If God existed, or had an ear, she might listen the way Svetlana Alexievich does to the stories of her fellow ex-Soviets. . . These stories have a hallucinatory clarity, like visions or nightmares-except they are made simply from the stuff of life

The experience of reading these thousands of human confessions has an astonishingly powerful impact

A masterly and potent reminder that the memory of loss belongs to individuals and communities, and not to the states that turn its psychic energy to other ends

An important historical document. . . offers a harrowing picture of the lives of Russian children caught up in Hitler's invasion on the Eastern Front

Svetlana Alexievich's books go as deep as the soul of woman can go. And now she investigates the soul in the agonized process of historical formation

This new translation will no doubt leave another huge impression on this new generation of readers

Unchildlike Stories

What did it mean to grow up in the Soviet Union during the Second World War? In the late 1970s, Svetlana Alexievich started interviewing people who had experienced war as children, the generation that survived and had to live with the trauma that would forever change the course of the Russian nation. 
 
With remarkable care and empathy, Alexievich gives voice to those whose stories are lost in the official narratives, uncovering a powerful, hidden history of one of the most important events of the twentieth century. 
 
Published to great acclaim in the Soviet Union in 1985, this masterpiece offers a kaleidoscopic portrait of the human consequences of the war - and an extraordinary chronicle of the Russian soul.

Svetlana Alexievich

Praise for Last Witnesses

A masterpiece of clear-eyed humility. . . Alexievich is the most inspired and inspiring of all Nobel prize winners, a genuine bearer of witness

Astonishing. . . Like the great Russian novels, these testimonials ring with emotional truth. . . Few people have ever conjured better the pain of loss

An antidote to nostalgic World War II narratives. . . Breathtaking, occasionally unbearably sad. Svetlana Alexievich is in a class of her own

A masterpiece of clear-eyed humility. . . Alexievich is the most inspired and inspiring of all Nobel prize winners, a genuine bearer of witness

Astonishing. . . Like the great Russian novels, these testimonials ring with emotional truth. . . Few people have ever conjured better the pain of loss

An antidote to nostalgic World War II narratives. . . Breathtaking, occasionally unbearably sad. Svetlana Alexievich is in a class of her own

A masterpiece of clear-eyed humility. . . Alexievich is the most inspired and inspiring of all Nobel prize winners, a genuine bearer of witness

Astonishing. . . Like the great Russian novels, these testimonials ring with emotional truth. . . Few people have ever conjured better the pain of loss

An antidote to nostalgic World War II narratives. . . Breathtaking, occasionally unbearably sad. Svetlana Alexievich is in a class of her own

Books by Svetlana Alexievich

Articles featuring Svetlana Alexievich

Books to read that tell Ukraine’s stories

9 classics to celebrate women in translation

10 classics to celebrate International Women’s Day

7 travel writers you need to know

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