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I will pay for the following essay Boris Akunin. The essay is to be 6 pages with three to five sources, with in-text citations and a reference page.Download file to see previous pages... Akunin was bo
I will pay for the following essay Boris Akunin. The essay is to be 6 pages with three to five sources, with in-text citations and a reference page.Download file to see previous pages...
Akunin was born in 1956 and has lived most of his life in Moscow where he was employed for many years as deputy editor of a Russian literary journal called Inostrannaia literature. He studied Japanese language and culture in order to become a translator of Japanese literature, and it is this culture that inspired his pen-name Aku (which means evil) and in (which means man) in Japanese language (Sobolev, 2004, p. 64). This background gives Akunin a wide knowledge of both Russian and international literary scenes and means that he is well-placed to identify trends in the public’s taste for modern and classical literature. Besides his translation work, Akunin has written nine novels about his main character Erast Fandorin who is an idiosyncratic retired police detective from the pre-Revolution period in Russian history. Because of ideological constraints under Communism, it was difficult for writers to engage with this period and genre. Detective novels in the West have traditionally been in the distinctly old-fashioned British style of Sherlock Holmes, followed by Agatha Christie’s Hercule Poirot and Dorothy Sayers’ Lord Peter Wimsey. .Akunin’s choice to return to the earlier models for inspiration is, therefore, somewhat contrary to the most recent international trends, but very much in line with the general interest that people continue to have in crime and mystery stories. It is a step out of the harsh, industrial and post-industrial present into an era where the aristocracy still roamed the earth and conspicuous consumption was an accepted norm in the upper echelons of society. Critics have noted that Akunin’s books are part of a new wave of recent Russian fiction, which under Soviet rule had been polarized into either high brow literature or trashy novels with nothing in between: “The success of the Akunin books proves the growing cultural presence of the post-Soviet middle class, which has the taste to appreciate the new literature – and the money to pay for it” (Aron, 2002, p. 1). By targeting an audience that is moderately well educated, but not necessarily interested in high-brow or classical literature, Akunin exploits the expanding Russian market for lightweight but entertaining literature which can be described as “middle brow.” Turning now to the novel itself, it becomes clear that Akunin is a master of style.