With this novel, Andreï Makine, whose work has been compared to that of Balzac, Chekhov, Pasternak, and Proust, brings to a stunning conclusion his epic trilogy that began with Dreams of My Russian Summers and continued with Requiem for a Lost Empire. The novel opens in 1942, in a burning, gutted Stalingrad, where the German and Russian armies are locked in a struggle to the death. Amid these ruins, a French pilot and a nurse, also French, are engaged in a passionate affair that each knows will be hopelessly brief. The pilot, Jacques Dorme, was shot down two years earlier. Imprisoned and sent east to a German POW camp, Dorme made a daring escape and crossed Germany stealthily by night until he arrived in an already devastated Russia, where, having proved his mettle as a pilot, he joined a Russian squadron stationed near Stalingrad. But during the brief time they have together there, the love between Dorme and Alexandra builds and blossoms into a relationship they both know comes but once in a lifetime. Several decades later, the narrator—a Russian exiled in France, a war orphan haunted by his dark childhood and obsessively searching for his roots—travels back to his native land, where in the icy and treacherous wastelands of Siberia he attempts to discover how his life and that of Jacques Dorme are inextricably intertwined.

Can it be ever possible to write about war in a work of fiction? asks a protagonist of one of Makine’s strongly metafictional and intensely historical novels. Helena Duffy’s World War II in Andreï Makine’s Historiographic Metafiction redirects this question at the Franco-Russian author’s fiction itself by investigating its portrayal of Soviet involvement in the struggle against Hitler. To write back into the history of the Great Fatherland War its unmourned victims — invalids, Jews, POWs, women or starving Leningraders — is the self-acknowledged ambition of a novelist committed to the postmodern empowerment of those hitherto silenced by dominant historiographies. Whether Makine succeeds at giving voice to those whose suffering jarred with the triumphalist narrative of the war concocted by Soviet authorities is the central concern of Duffy’s book.

This international bestseller has been translated into 26 languages and is the first work to win both of France's top literary honors. "A masterpiece. . . . Makine belongs on the shelf of world literature--between Lermontov and Nabokov, a few volumes down from Proust".--"The Atlanta Journal".

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