It is tempting to label Rollan Seisenbayev’s The Dead Wander in the Desert as an early example of what has now been come to be known as “cli-fi” (“climate fiction”): the book’s central motif, after all, is the human-engineered collapse of the Aral Sea.
Russia
Although Aigerim Tazhi is Kazakh, she writes in Russian. “I live in Kazakhstan,” she is quoted in translator J Kates’s introductory essay as saying,
but I was born in the Soviet era. We had a common country then, a common capital (Moscow), and the main language was Russian. Therefore, in school we were taught in Russian, on the streets and at home we talked in Russian. I did not choose the Russian language, did not evaluate it in terms of its attractiveness. It’s just the language that I’ve spoken since childhood.
Two young girls are snatched off a city street; the crime ripples through the wider community. A story that might have been set anywhere, but Julia Phillips sets hers in Kamchatka, one of the remoter parts of Russia’s remote Far East.
The daughter of a Jewish Azerbaijani father and a Russian mother, Sophia Shalmiyev grew up in 1980s Leningrad hearing her grandmother recite anti-Semitic jingles, ruffling Sophia’s hair as if this act of act of affection could erase the sting of her words.
Although Ak Welsapar is Turkmen, and one of the few Central Asian writers to have any international presence, The Revenge of the Foxes—his latest novel (or, given its length, perhaps novella) to appear in English—was written in, and translated from, Russian. It shows: Russian influence is very clear and, the nationality of the protagonist and some flashbacks aside, the book might be Russian, set in a decaying Moscow hospital at the fag end of the Soviet Union.
The story of Roman Fyodorovich Ungern-Sternberg—“a Russian general, Baltic baron, Mongolian prince, and husband of a Chinese princess”—more or less writes itself. In his novella, Horsemen of the Sands, Russian writer Leonid Yuzefovich tells the story largely from the perspective of the Buryats—ethnic Mongols living in Russia—through the medium of a lost talisman.
To get the details out of the way first: Alisa Ganieva is a Russian writer of Avar/Dagestani extraction. She has been called “the first Dagestani author to have their [sic] work translated into English”, and her most recent translated novel, the 2015 Bride and Groom—which was shortlisted for the Russian Booker Prize—is set in the Muslim-majority and turbulent Caucasus region of Dagestan.