Новинки Хамида Исмайлова

Действие повести "Мертвое озеро" разворачивается в Казахской степи в районе Семипалатинского ядерного полигона. Рассказчик уже на первых страницах повести встречает 10-летнего Ержана - мальчика, завораживающе играющего на скрипке "Венгерский танец" Брамса и продающего айран в поезде дальнего следования. Через несколько строчек читатель узнает, что Ержан - никакой не мальчик, ему 27 лет. Его историю вместе с историей экологического наследия холодной войны и тайной Мертвого озера нам предстоит узнать.

Set mainly in Uzbekistan between 1900 and 1980, The Railway introduces to us the inhabitants of the small town of Gilas on the ancient Silk Route. Among those whose stories we hear are Mefody-Jurisprudence, the town's alcoholic intellectual; Father Ioann, a Russian priest; Kara-Musayev the Younger, the chief of police; and Umarali-Moneybags, the old moneylender. Their colourful lives offer a unique and comic picture of a little-known land populated by outgoing Mullahs, incoming Bolsheviks, and a plethora of Uzbeks, Russians, Persians, Jews, Koreans, Tatars and Gypsies.
At the heart of both the town and the novel stands the railway station - a source of income and influence, and a connection to the greater world beyond the town. Rich and picaresque, The Railway chronicles the dramatic changes felt throughout Central Asia in the early twentieth century.

In his latest tragicomedy Hamid Ismailov interrogates the interaction between tradition and modernity, myth and reality.

A radio presenter interprets one of his dreams as an initiation by the world of spirits into the role of a Manaschi, a Kyrgyz bard and shaman who recites and performs the epic poem, Manas, and is revered as someone connected with supernatural forces. Travelling to his native mountainous village, populated by Tajiks and Kyrgyz, and unravelling his personal and national history, our hero Bekesh instead witnesses a full re-enactment of the epic’s wrath.

Following on from the award winning The Devils' Dance and Of Strangers and Bees, this is the third and final book in Ismailov's informal Central Asia trilogy.

On New Years’ Eve 1938, the writer Abdulla Qodiriy is taken from his home by the Soviet secret police and thrown into a Tashkent prison. There, to distract himself from the physical and psychological torment of beatings and mindless interrogations, he attempts to mentally reconstruct the novel he was writing at the time of his arrest – based on the tragic life of the Uzbek poet-queen Oyhon, married to three khans in succession, and living as Abdulla now does, with the threat of execution hanging over her. As he gets to know his cellmates, Abdulla discovers that the Great Game of Oyhon’s time, when English and Russian spies infiltrated the courts of Central Asia, has echoes in the 1930s present, but as his identification with his protagonist increases and past and present overlap it seems that Abdulla’s inability to tell fact from fiction will be his undoing.

The Devils’ Dance – banned in Uzbekistan for twenty-seven years – brings to life the extraordinary culture of 19th century Turkestan, a world of lavish poetry recitals, brutal polo matches, and a cosmopolitan and culturally diverse Islam rarely described in western literature. Hamid Ismailov’s virtuosic prose recreates this multilingual milieu in a digressive, intricately structured novel, dense with allusion, studded with quotes and sayings, and threaded through with modern and classical poetry.

With this poignant, loving resurrection of both a culture and a literary canon brutally suppressed by a dictatorship which continues today, Ismailov demonstrates yet again his masterful marriage of contemporary international fiction and the Central Asian literary traditions, and his deserved position in the pantheon of both.

Durch die Weite der Steppe Kasachstans f?hrt ratternd ein Zug. In ihm begegnen sich ein Reisender und Erjan, das Wunderkind. Der Knabe spielt mitten in dieser vom Zug durchquerten Ein?de so virtuos auf seiner Violine, dass nicht nur dem Erz?hler H?ren und Sagen vergeht. Doch die Musik bleibt nicht das einzige Wunder. Denn der Junge, der aussieht wie zehn oder zw?lf, ist in Wahrheit bereits ein Mann von 27 Jahren; als Kind tauchte er allen Warnungen zum Trotz in einen nuklear verseuchten See. Hamid Ismailov versetzt damit das Blechtrommel-Motiv des Immer-Kind-Bleibenden in die Ein?de des von 486 Atombombentests verseuchten Kasachstan und gibt ihm eine herbe Intensit?t von tiefer Sch?nheit. Zwei Welten prallen darin aufeinander: die Weite und Einsamkeit der Steppe Kasachstans und die moderne Welt au?erhalb davon – der Zug, der diese wie stehen gebliebene Welt t?glich durchf?hrt, die Atomtests, die wie eine unsichtbare Macht die Natur und die Menschen ver?ndern, die Musik, die einen anderen Rhythmus in Yerzhans Leben bringt.