The result of tragedy isn't such a lot thanks to lore and mythological motives as through language, though one usually merges with the opposite. Thick metaphors show the globe, seen just about from a person's purpose of read, and during this sense, Eugene Nekrasov, of course, isn't vainly compared with philosopher. The catch of such a trick is that you simply quickly get accustomed it during a tiny kind, and that is why you get tired. And within the middle of the book it looks that we tend to area unit talking concerning a similar story once more and once more, however currently it's submitted from a unique angle. however every story could be a recent and curious word a few one who isn't "small", however during a sagacity "average", and it looks to be "average" in our time is actually chilling ...
Sergei Lebedenko in his article "Books of August: lightweight Touching Hardly and Gloomy" ("Literaturno") reflects on the role of fantastic part within the prose of Eugenia Nekrasova:
"There area unit 2 forms of writers: those that write of the encompassing reality, and people World Health Organization invent their own world. And for a protracted time it absolutely was believed that the primary variety of writers is honest to decision them realists, and therefore the second - fiction writers. It looks that it's still customary to appear at a author World Health Organization introduces an incredible part into the text: Associate in Nursing wishful thinker. Yevgeniya Nekrasova well-tried in her recent "Kalechina" that to introduce an incredible part into the prose of modernism suggests that to open its painful points, to handle them face to face, and to not draw back the least bit.
In Sestromam, this artist autopsy reaches a replacement level: the author doesn't simply introduce an incredible part, however redesigns the matter reality itself in order that its dark, unspoken sides come back to the fore with repellent cadavers. Nekrasova's original, utterly poetic language, galvanized by Platonov and people bulls and tales, serves not solely to make the mood and atmosphere of stories, however conjointly to confirm that Kadavrs within the kind of domestic rapists, crooks, bureaucrats and easily lost folks a minimum of within the text were defeated.
As a result, the heroes of Nekrasova, creatures that area unit weak however freedom-loving, create their method through claustrophobic, sticky and unfriendly reality somewhere within the air, wherever they're going to not be sure by a vow of silence or sturdy bonds of dependence ...
Finally, Yegor Mikhailov in his article "That's why it's scary: however similar area unit the stories of Kristen Rupenyan and Yevgeniya Nekrasova" ("Poster-Daily") compares the collections of 2 writers and involves the conclusion that the success of Nekrasova's prose part owes to the Russian "current news agenda:
"Nekrasova doesn't feel pitying the reader, however rather treats him compassionately of a doctor during a children's polyclinic: she strokes his head, unremarked distractions, and once the patient hesitates, there's a syringe with a immunizing agent prepared.
Rupenyan's stories concerning external monsters end up to be stories concerning internal (and vice versa) - a similar is aforementioned concerning Nekrasova. within the 1st story, guilt takes on the image of a quite materially slippery worm wrapping round the neck of the protagonist - the frontal image, however the author manages to address it. <...>
At a similar time, it's rather more troublesome to browse Nekrasova's assortment. wherever Rupenyan is armed with a saving style and a branded ironic grin, Nekrasova is way additional serious and a bit additional sentimental. and therefore the place of action, of course, is very important. inserting the action of his stories not within the conditional house, and during a recognizable Russia in 2019, Nekrasova mechanically connects them with the newswire.
Not amazingly, the most effective story within the assortment is that the one that hides nearer to the top of "Lakshmi". Fortuitously, the heroine of the story lives within the same semi-magical world as Katya from "Malechina-Malechina" (they echo, as an example, the word "immature", that here is named children). within the absence of legislation that fights force, she has got to defend herself by virtually growing new limbs and changing into a multi-armed immortal. within the same method, Nekrasova's prose grows new limbs so as to find out speak concerning topics that few folks in Russia will talk about: force, fear, and death. It seems a book that may facilitate to seek out a replacement language for his or her discussion.