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A lost masterpiece and one of the major achievements of Russian literature in the second half of the 20th century. Summer in BadenBaden was acclaimed by The New York Review of Books as 'a short poetic masterpiece' and by Donald Fanger in The Los Angeles Times as 'gripping, mysterious and profoundly moving.'A complex, highly original novel, Summer in BadenBaden has a double narrative. It is wintertime, late December: a species of 'now.' A narratorTsypkinis on a train going to Leningrad. And it is also midApril 1867. The newly married Dostoyevskys, Fyodor, and his wife, Anna Grigor'yevna, are on their way to Germany, for a fouryear trip. This is not, like J. M. Coetzee's The Master of St. Petersburg, a Dostoyevsky fantasy. Neither is it a docunovel, although its author was obsessed with getting everything 'right.' Nothing is invented, everything is invented. Dostoyevsky's reckless passions for gambling, for his literary vocation, for his wife, are matched by her allforgiving love, which in turn resonates with the love of literature's disciple, Leonid Tsypkin, for Dostoyevsky. In a remarkable introductory essay (which appeared in The New Yorker), Susan Sontag explains why it is something of a miracle that Summer in BadenBaden has survived, and celebrates the happy event of its publication in America with an account of Tsypkin's beleaguered life and the important pleasures of his marvelous novel.
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