“[A] massive and provocative book by the Slavist Richard Tempest has appeared, that aims to come to terms with the entirety of Solzhenitsyn’s ‘fictive worlds.’ With clarity and erudition, Tempest attempts to demonstrate how Solzhenitsyn used numerous experimental and modernist techniques to defend and revivify the realist tradition in literature, a tradition where good and evil are real and utterly palpable, where authentic heroes exist, and where an author committed to truth, responsibility, and the integrity of art manfully resists the chaos and nihilism of the age. Tempest… fully appreciates why Solzhenitsyn rejected ‘the howl of existentialism’ and fashionable but morally and culturally corrosive doctrines about ‘the death of the author.’ Solzhenitsyn refused to fiddle while Rome burned.”
— Daniel J. Mahoney, Perspectives on Political Science
“Richard Tempest’s Overwriting Chaos is a systematic up-to-date study of the structures of Solzhenitsyn’s artistic imagination. It places Solzhenitsyn in three widening frames: as a writer dealing with the Gulag and its pre-history, as an integral part of the Russian literary tradition, and, importantly and innovatively, as a major presence in world literature. It combines intratextual insight with discussions of intertextuality, connections with real-life phenomena, and effect on audiences. … The language of the book is rich, vivid, accessible, and methodologically and multilingually precise. … The book should be taken into account in all further research on Solzhenitsyn’s fiction, as a theory of Solzhenitsyn’s poetics, a source of local insights, a pilot, or a springboard.”
—Leona Toker, The Hebrew University of Jerusalem, Russian Review
“Richard Tempest’s book is a wide-ranging study of
Solzhenitsyn’s prose texts in the context of the Russian and Western literary
traditions. … On the pages of
this book Solzhenitsyn emerges not only as a writer (even though he is
primarily considered as such), but also as a reader, traveller, paterfamilias,
and a victim of (and victor over) the chaos of history. On top of it all,
Tempest shares his own phone interviews with Solzhenitsyn (the full texts are
attached in an appendix of the book), as well as encounters and conversations
with the writer’s widow, Natalia Solzhenitsyna, which adds to the lively and
comprehensive nature of this scholarly treatise.”
—Anna Arkatova, Hong Kong
Baptist University, UIC College, Australian Slavonic and East European Studies
