The Man Who Couldn't Die
The Tale of an Authentic Human Being
by Olga Slavnikova
Translated by Marian Schwartz
In the chaos of early-1990s Russia, a paralyzed veteran’s wife and stepdaughter conceal the Soviet Union’s collapse from him in order to keep him—and his pension—alive, until it turns out the tough old man has other plans. An instant classic of post-Soviet Russian literature, Olga Slavnikova’s The Man Who Couldn’t Die tells the story of how two women try to prolong a life—and the means and meaning of their own lives—by creating a world that doesn’t change, a Soviet Union that never crumbled.
After her stepfather’s stroke, Marina hangs Brezhnev’s portrait on the wall, edits the Pravda articles read to him, and uses her media connections to cobble together entire newscasts of events that never happened. Meanwhile, her mother, Nina Alexandrovna, can barely navigate the bewildering new world outside, especially in comparison to the blunt reality of her uncommunicative husband. As Marina is caught up in a local election campaign that gets out of hand, Nina discovers that her husband is conspiring as well—to kill himself and put an end to the charade. Masterfully translated by Marian Schwartz, The Man Who Couldn’t Die is a darkly playful vision of the lost Soviet past and the madness of the post-Soviet world that uses Russia’s modern history as a backdrop for an inquiry into larger metaphysical questions.
About the Author
Olga Slavnikova was born in 1957 in Sverdlovsk (now Ekaterinburg). She is the author of several award-winning novels, including A Dragonfly Enlarged to the Size of a Dog and 2017, which won the 2006 Russian Booker prize and was translated into English by Marian Schwartz (2010).
Marian Schwartz translates Russian contemporary and classic fiction, including Tolstoy’s Anna Karenina, and is the principal translator of Nina Berberova.
The Man Who Couldn’t Die is an overlooked masterpiece of post-Soviet prose by one of contemporary Russia’s most important authors. It reveals how Slavnikova’s descriptions (and Schwartz’s English equivalent) belong alongside those of Vladimir Nabokov, Iurii Olesha, and Nikolai Gogol as truly revolutionary in Russian prose.