Armenian Sketchbook

Few writers had to confront so many of the last century's mass tragedies as Vasily Grossman. He is likely to be remembered, above all, for the terrifying clarity with which he writes about the Shoah, the Battle of Stalingrad and the Terror Famine in the Ukraine. An Armenian Sketchbook, however, shows us a very different Grossman; it is notable for its warmth, its sense of fun and for the benign humility that is always to be found in his writing. After the 'arrest' - as Grossman always put it - of Life and Fate, Grossman took on the task of editing a literal Russian translation of a lengthy Armenian novel. The novel was of little interest to him, but he was glad of an excuse to travel to Armenia. This is his account of the two months he spent there. It is by far the most personal and intimate of Grossman's works, with an air of absolute spontaneity, as though Grossman is simply chatting to the reader about his impressions of Armenia - its mountains, its ancient churches and its people.

'A beguiling mixture of travelogue and personal musings' New Statesman., 'Grossman proves an entertainingly philosophical, kindly companion; he is a romantic, but he is also humorous' Irish Times., 'An extraordinary lyrical account of his acquaintance with the country' Independent., 'A book wonderful in every way' Spectator., 'This vivid and moving account ... draws a rich cultural picture' Lady.

VASILY SEMIONOVICH GROSSMAN (1905-1964) was born into a Jewish family in Berdichev, in what is now Ukraine. In 1934 he published both "In the Town of Berdichev" - a short story that won him immediate acclaim - and the novel Glückauf, about Donbas miners. During the Second World War, he worked as a reporter for the army newspaper Red Star; his "The Hell of Treblinka" (1944) was one of the first accounts of a Nazi death camp to be published in any language. His long novel Stalingrad was published in 1952. During the next few years Grossman worked on his second Stalingrad novel: Life and Fate. In February 1961, the KGB confiscated his typescript, but he was able to continue working on Everything Flows, which is yet more critical of the Soviet regime, until his last days. The short stories he wrote during his last three years are among his supreme achievements; English translations are included in The Road. Grossman died on 14 September 1964, on the eve of the twenty-third anniversary of the massacre of the Jews of Berdichev, in which his mother had died.