Editorial Content for The Undead: A Novel of Modern Russia

Maya Kotova, a thirtysomething filmmaker, has never been interested in politics. But as production on her first feature wraps, and before the film is even edited, she learns that politics are unavoidable in Putin’s Russia.

THE UNDEAD, Svetlana Satchkova’s first English-language novel (she has published three previous works of fiction in Russian), follows Maya as her excitement in filmmaking is destroyed by the crushing weight of a corrupt government and its shady machinations. 

Maya prides herself on her lack of political thought and awareness, much to the chagrin of her friends and associates. She believes that the silly zombie movie she works on as she finishes her film degree is totally devoid of anything controversial.

"[T]his novel takes some dark themes and casts them into a bright light, offering much to consider about art, freedom, propaganda and responsibility."

As she moves through the small circle of the Russian film industry, Maya longs to have her script picked up and produced. She is not as assertive as some of her friends and classmates but still feels confident that she has something to contribute. In the meantime, she bickers with her sister, judges an actress friend, hangs out with her stalker, and shares it all with her best friend, Lena.

Of course, Maya is thrilled when a producer named Belov wants to make her movie. Auditions are disappointing, and she ends up casting her friend, Ksenia, a brash and ambitious actress and screenwriter who she has to admit is talented. The filming goes mostly according to plan, with Maya accepting the changes that Belov and others offer. She even begins an affair with a young, married lighting technician, growing almost obsessive over him.

But before the movie is finished and ready for distribution, Maya knows that something is wrong, and her dreams of taking it to film festivals around the world are destroyed. Not only is her lead actor caught in a horrific scandal, someone has turned Maya into the authorities for making an anti-government piece of art. Now the apolitical Maya faces jailtime, blacklisting and worse. 

How can Maya convince the government that her zombies are not a critique of Lenin and Putin? What might happen if she lets her friends and colleagues know that she still has no interest in politics at all? What will her naivete and passivity in the face of oppression cost her? With shades of Kafka, Maya has to navigate a confusing and opaque system that is designed to terrorize and punish. Her series of narrow escapes from the full weight of the government may be frustrating to readers, but Satchkova continues to set up Maya for experiences mostly out of her control. 

Satchkova’s story explores how art can stand up to injustice and how ignoring that injustice doesn’t mean you are free from it. Maya is a hapless figure, but Satchkova doesn’t allow her innocence to let her off the hook. 

THE UNDEAD is a compelling and timely story, both very Russian and all too universal. Often Satchkova tells rather than shows, which can make the narrative a bit dry and hurried, keeping readers at an emotional distance. Overall, though, this novel takes some dark themes and casts them into a bright light, offering much to consider about art, freedom, propaganda and responsibility.