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A satire about the Soviet space program finds Omon, who has dreamed of space flight all of his life, enrolled as a cosmonaut only to learn that his task will be piloting a supposedly unmanned lunar vehicle to the Moon and remaining there to die.

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18 reviews
Omon Ra is dark. How dark? Think Kafka shooting krokodil in a Siberian prison camp imagined by J.G. Ballard and then Iain Banks devours the whole thing with a black hole. Sub-infra-black doesn't even begin to describe how dark it is. That said, this is the wonderful and magical story of young man who dreams of flight and joins the cosmonaut program, only to learn that the Soviet space program is less than it seems. It's a mediation on the theater of Soviet heroism, Stakhanovite exceptionalism, and the sacrifice of young dreamers on the alter of Party prestige.
– Vityuska, kisfiam, mi leszel, ha nagy leszel?
– Űrhajós!
– Ó, milyen aranyos! Tudod, az űrhajósok hősök, akik életüket is készek feláldozni a Szovjetunióért!
– Akkor mégis inkább író.

Ha én kiadóvezető lennék (öregszem, régen arról ábrándoztam, író leszek, most meg inkább kiadóvezető), és egy kezdő író behozna nekem egy ilyen kéziratot, hát összetenném a két kezem, és hálatelt szívvel rebegnék köszönetet annak a Nagyon Jóságos Istennek. (De azért a tiszteletdíját lealkudnám. Háh!) Hihetetlen, hogy egy ilyen tejfölösszájú tollforgató már debütáláskor ennyire pakk legyen: ennyire természetesen tudja ötvözni a szovjet sci-fi hangulatát a kommunista technológiai show more elköteleződés (ami némiképp ellentétben van a kommunista technológiai képességekkel) keserű szatírájával. Olyan kiegyensúlyozott ez a könyv, hogy el sem hiszem, kezdő írta. Finoman simul egymásba a túláradó szürrealizmus és a helyenkénti lírai látomásosság, nem vesznek össze egymással, nem csökkentik egymás erejét – ez szerintem lenyűgöző. Amúgy meg arról szól, amiről az összes Pelevin: hogy a valóság meg a illúzió, az nem kettő. Hanem egy. Vagy három. Vagy százharminchét. Vagy kétezerhatvanhárom. De semmiképpen sem kettő. show less
Pelevin's Omon Ra has about it a very tangible sense of fatalism, as well as hope. The main charcter, Omon Krivomazov, both dreams to become a cosmonaut and yet, at the same time, seems to be imperceptibly led toward that dream without action on his part. It is a literary chicken and egg situation, where you're unsure who's leading whom (the dream or the dreamer). By itself this constitutes a very real, very subtle satire of late Soviet Russia.

Pelevin's prose is simple, philosophical, and sad. And it is also very moving. I read this short book in a sitting, as you feel compelled to follow the same, strangely passive route of Omon as he becomes a cosmonaut and is launched, wholly unprepared but willing, to his first assignment to the show more moon.

This point about Omon's strangely amateuristic space adventure is, for me, the big, ambiguous core to the book. Neither himself nor his teachers ever indicate that Omon should necessarily be trained to become a cosmonaut; after all, it's as simple as riding a bike. Of course, this makes at the close of the book. Almost.
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Omon Ra é o livro que mais consegue simultaneamente ser hilário, assustador e depressivo que eu já li.
Como já tem mais sinopses do que o necessário aqui, farei a minha contribuição com um dos trechos fenomenais do livro. Ele não tem nenhuma conexão com o enredo central, então não sei se tecnicamente é um spoiler, mas, ainda assim:

página 57 da edição da NDP (ia traduzir, mas muito longo):

Dima’s arrival coincided with the introduction of a new discipline into the timetable, known as “Strong in Spirit”. It wasn’t really a study subject in the normal sense of the word, although it was given pride of place on the timetable. We began to get visits from people who were professional heroes—all of them told us about
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their lives without a trace of sentimentality; their words were the same simple ones you heard in the kitchen at home, so the very essence of their heroism seemed to spring from the ordinary, from the petty details of everyday life, from the grey, cold air around us.

The person I remember best of all from “Strong in Spirit” is retired Major Ivan Trofimovich Popadya—a funny kind of name. He was tall, a real Russian Hercules, and his jacket was festooned with medals. His face and neck were red, and dotted all over with small white scars. He wore a patch over his left eye. His life was very unusual: He began as a simple huntsman in a hunting reserve used by Party leaders and members of the government, and his duties were to drive the animals—wild boar and bears—towards the marksmen hiding behind the trees. One day there was a terrible accident. A big male boar broke across the line of flags and fatally injured a Party leader who was firing from behind a birch tree. He died on the way to the nearby town, and a session of the supreme organs of power adopted a resolution forbidding the leadership to hunt wild animals. But, of course, the need remained, and one day Popadya was summoned to the Party Committee of the hunting reserve, where they explained the whole business to him and then said: “Ivan! We can’t order you to do it—and even if we could, we wouldn’t, not this. But it’s something that needs to be done. Think about it. We won’t force you.”

Popadya thought hard about it all night long, and next morning he went to the Party Committee and said he agreed.

“We didn’t expect any other answer,” said the Party Secretary.

They gave Ivan a bulletproof waistcoat, a helmet, and a boar skin, and he went to work at his new job—a job which it would be no exaggeration to describe as daily heroism. For the first few days he felt a little afraid, especially for his exposed legs, but then he got used to it, and the members of the government, who all knew what was going on, tried to aim at his side, at the bulletproof waistcoat, which Ivan padded with a small pillow to soften the impact. Occasionally, of course, some old codger from the Central Committee would miss his aim, and then Ivan would go on extended sick leave and read a lot of books, including his favourite, the memoirs of the famous flier Pokryshkin. Just how dangerous this work was—every bit as bad as active military service—can be judged from the fact that every week they had to replace Ivan’s bullet-riddled Party card, which he carried in the inside pocket of the boar skin. When he was wounded, his shift was worked by other huntsmen, including his own son Marat, but Ivan was always regarded as the most experienced, the one to be trusted with the most responsible jobs. They tried to take care of Ivan Popadya. Meanwhile, he and his son studied the habits and the calls of the wild inhabitants of the forest—the bears, wolves, and boars—and improved their professional skills.

The accident happened a long time ago, when the American politician Kissinger visited our country. He was conducting important negotiations, and a lot depended on whether we could sign a provisional nuclear arms limitation treaty (this was especially important, because our enemies must not be allowed to know that we never had any nuclear arms). So Kissinger was entertained at the very highest state level, and all the various state services were involved—for instance, when it was discovered that he liked short, plump brunettes, a quartet of plump brunette swans was found to drift across Swan Lake on the stage of the Bolshoi Theatre, under the glinting gaze of Kissinger’s horn-rimmed spectacles up in the government box.

It was thought easier to negotiate while hunting, and Kissinger was asked what he liked to hunt. Probably in an attempt at subtle political witticism, he said he preferred bears, and was surprised and rather alarmed when next morning he was actually taken hunting. On the way he was told that two bruins had been lined up for him.

These two were none other than the Communists Ivan and Marat Popadya, father and son, the finest special-service huntsmen in the reserve. The guest of honour laid out Ivan straightaway with a well-aimed shot, just as soon as he and Marat reared up on their hind legs and came out of the forest, roaring; they attached the hooks to the special loops on his body and dragged it over to the car. But the American just couldn’t hit Marat, even at almost point-blank range, when Marat was deliberately moving as slowly as he could, exposing the full expanse of his chest to the American’s bullets. Suddenly something quite unpredictable happened—the foreign guest’s gun jammed, and before anyone realised what was happening, he had thrown it down in the snow and flung himself at Marat with a knife. Of course, a real bear would have dealt very quickly with any huntsman who behaved like that, but Marat remembered the responsibility he bore. He lifted up his paws and growled, hoping to frighten the American away, but the hunter was out for blood now, and he ran up and stuck the knife into Marat’s belly; the slim blade slipped between the plates of the bulletproof vest. Marat fell. And all this happened as his father looked on from where he lay a few metres away; they dragged Marat over to him, and Ivan realised that his son was still alive—he was groaning almost inaudibly. The blood he left on the snow wasn’t the special liquid from his little rubber bladder—it was the real thing!

“Hold on, son!” Ivan whispered, swallowing his tears. “Hold on!”

Kissinger was beside himself with delight. He suggested to the officials accompanying him that they should all drink a toast right there, standing on top of the “teddy bears”, as he called them, and they should sign the treaty on the spot. They covered Marat and Ivan with the board of honour from the wall of the forester’s hut—it had their photographs on it—and made an improvised table. For the next hour, Ivan saw nothing but fleeting glimpses of feet, and he heard nothing but drunken speech in a foreign language and the swift muttering of the interpreter; he was almost crushed when the Americans danced on the table. When it grew dark and everybody left, the treaty was signed and Marat was dead. A thin trickle of blood flowed from his open jaws onto the blue evening snow, and a golden Hero of the Soviet Union star glittered on his fur, where the manager of the reserve had hung it. All night the father lay opposite his dead son, crying—and feeling no shame for his tears.

***

I suddenly understood anew the long-lost meaning of the words I was so fed up with seeing staring at me every morning from the wall of the training hall: “Life always has room for heroism.” It was not just romantic nonsense but a precise and sober statement of the fact that our Soviet life is not the ultimate instance of reality but only, as it were, its anteroom. I imagined it this way: that there is no space anywhere in America, between the glaring shop window and the parked Cadillac, for heroism, and there can be no space for it—apart, of course, from that rare moment when a Soviet spy passes by. But here in Russia, you can only be on an apparently identical pavement outside an identical shop window in a Post-War or Pre-War Period, and this is what opens the door leading to heroism, not in the external world, but within, in the very depths of the soul.

“Well done,” said Urchagin, when I shared my thoughts with him [...].

Mais tarde, Omon (o protagonista) chega à realização de que Kissinger sabia o que havia por baixo da pele. Esse livro tem recorrentemente o tema de pessoas coscientemente participando de farsas. Eu disse que essa citação não continha spoilers, mas, pensando agora, somada à realização de Omon, essa passagem é um microcosmo do livro como um todo.
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Victor Pelevin’s Omon Ra is a fiction of two halves. A novella that starts out rather slowly, Pelevin writes of the nostalgia that soviet era cosmonaut Omon Krivomazov experiences in his pursuit of reaching the moon from the time as a young boy. It’s a distinctly Russian nostalgia that takes its time wistfully dissecting the absurdity of the party’s stellar ambitions at the expense of the citizens who surrender themselves for the cause. Pelevin makes the insightful observation that the importance of life is really witnessed on the periphery, highlighting the divide between the controlling party and its heroic though powerless citizens.

Whereas the first half is an eerie and introspective look into the individual’s integration show more within the soviet mentality, the second half cements the work as simultaneously that of both science fiction and horror. Pelevin brilliantly foreshadows successive bits of sacrifice Omon and his flight crew undertake from their training to their eventual lunar mission, where each member is trained to carry out not only their precise duties but the knowledge of their fate as well.

At times Omon Ra seems a bit uneven given its dual nature in genre. However, due to its brevity, the story rarely meanders far from its themes of heroism and its place within individual, and our conception of space.
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Young Omon dreams of space and fulfils his dream and gets to join the space programme. But things are not as they seem and he comes to find just how performative things in the Soviet system.
A wonderful slice of absurdist fiction: the protagonist, Omon, has always dreamed of going to the moon, but when his wish is granted and he joins the Russian cosmonaut program, he discovers that all is not as it seems.

This is one of those marvellously inventive little books that accomplish a lot in a short time; of the books I've read, it reminded me most of Kristof's "The Notebook," for its style and its dead-pan, horrific black humour.

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Picture of author.
119+ Works 5,682 Members
He was born in Moscow. (Bowker Author Biography)

Some Editions

Bromfield, Andrew (Translator)
Pikkupeura, Arja (Translator)
Tretner, Andreas (Translator)

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Common Knowledge

Canonical title
Omon Ra
Original title
Омон Ра
Original publication date
1992 (original Russian) (original Russian); 1994 (English translation) (English translation)
People/Characters
Henry Kissinger
Dedication*
Neuvostoavaruuden sankareille
First words
Omon is not a particularly common name, and perhaps not the best there is.
Quotations
you only ever see the best things in life out of the corner of your eye
Last words*
(Click to show. Warning: May contain spoilers.)Kohotin katseeni seinällä hätäjarrun vieressä riippuvaan metrokarttaan ja ryhdyin tutkimaan, missä kohden punaista linjaa tarkalleen ottaen olin.
Blurbers
Kakutani, Michiko; Garner, Dwight; Fischer, Tibor
Original language
Russian
Disambiguation notice
3379015075 Reclam Leipzig
*Some information comes from Common Knowledge in other languages. Click "Edit" for more information.

Classifications

Genres
Fiction and Literature, General Fiction, Science Fiction
DDC/MDS
891.7344Literature & rhetoricLiteratures of other languagesEast Indo-European and Celtic literaturesRussian and East Slavic languagesRussian fictionUSSR 1917–1991Late 20th century 1917–1991
LCC
PG3485 .E38 .O4613Language and LiteratureSlavic languages and literatures. Baltic languages. Albanian languageSlavic. Baltic. AlbanianRussian literatureIndividual authors and works1961-2000
BISAC

Statistics

Members
771
Popularity
36,537
Reviews
14
Rating
½ (3.65)
Languages
14 — Czech, Dutch, English, Finnish, French, German, Hungarian, Italian, Japanese, Norwegian (Bokmål), Russian, Slovenian, Spanish, Swedish
Media
Paper, Ebook
ISBNs
34
ASINs
3