Globus Books

Buoyed by glorious weather that San Francisco and Bay Area usually enjoy in September and October, fall is the time for rich cultural life around here. Weekend days become too short to contain our collective enthusiasm for the arts. One such day this year will be September 27th, when all the muses joyfully compete for our engagement. I sorted it out and feel free to join me on the day’s adventure.

We start at 3 pm at the Herbst Theatre, at the Neon to New Orleans show by the San Francisco Pride Band. Having written about thermal cameras and AI that help ships avoid hurting the whales that wonder into San Francisco Bay, my friend, writer Katie Bourzac joined the band with their clarinet. I have peeked at the music they are playing, and I’m wondering how the ushers at the Herbst Theatre are planning to keep audience in our seats when we will all want to dance. Brute force, no doubt! Book your tickets now.

My plan is to use all the jazzy energy to dash off to the Richmond, where Globus Books is having a birthday party with more music and readings. Globus Books — an anchor of the post-Soviet and Transeurasian community — recently attained legacy business status in San Francisco. They began operations in 1971 with a wave of immigrants and exiles arriving to the US from the USSR, and have been hosting events and supporting diaspora authors ever since.

This event is likely to be at least partially in Russian, and I’m planning to read a bit of my work during the open mic portion.

And speaking of the post-Soviet and Transeurasian community, don’t miss stories that Yelena Furman and I published recently in our blog Punctured Lines:

The Undead

Art and politics: who has anything to say on this topic? What about: Art and politics and zombies? In particular, a zombie Lenin, arisen from the mausoleum and aiming to seize control of the Kremlin. That’s the setup of a movie that Maya, the protagonist of Svetlana Satchkova’s novel THE UNDEAD manages to get produced in Moscow in 2017. Maya is a recent graduate of a fancy film school and all she wants to do is to make her artistic mark on the world. She really, really doesn’t want to anything to do with contemporary politics, and it’s really too bad for her that in Putin’s Russia there’s no more room for romp. Everyone is a potential target. Satchkova uses her protagonist to show us how Russia’s political machine has leveraged its control of free expression.

If you’re able, come help Sasha Vasilyuk and me celebrate Svetlana Satchkova’s humorous and illuminating English language debut, THE UNDEAD, at Globus Books later this month. Please RSVP.

Yellow flyer with red letters announcing the event -- details in the post.

Event details:
May 21, 6:30 PM
Globus Books, 332 Balboa Street, SF
Snacks!!

Please buy the book and support the bookstore, an anchor of transeurasian life here in San Francisco. They are performing such an incredible service for all of us!

Among her other, much more glamorous credits, Satchkova is a long-time contributor to Punctured Lines, the feminist blog about the literatures of the former USSR and diaspora that Yelena Furman and I run. Satchkova’s contributions include interviews with some of the preeminent writers working in Russian today, starting from introducing us to the work of Tatsiana Zamirovskaya back in 2020 (first published in Storytel and translated to English by Fiona Bell), her interviews with Anna Starobinets and Maria Stepanova, and including a translation of an interview Satchkova gave to Egor Mikhailov of Afisha Daily about a Russian-language novel of hers published in 2021, People and Birds.

(Those of you who read both Satchkova’s interview on Punctured Lines and THE UNDEAD will be able to easily answer the question: Which character in the novel shares the most biographical details with the author? Hint: it’s not Maya, the protagonist.)

For more insights into Satchkova’s writing process and inspiration about THE UNDEAD — the novel immerses us in Moscow’s film industry, how does she know all of this? — read Sasha Vasilyuk’s interview with her on Electric Literature.

If you can’t make the event, please buy and read the book and leave a review on Goodreads and Amazon (and Storygraph and everywhere else you can think of). Since all of our writerly brilliance must be encapsulated by commercial engines in order to have a chance to get out to readers out there.