‘Interpreting Death can be classified as an anti-Utopia and in many of its characteristics it resembles such work, although it doesn’t fit the classical framework of the genre. The novel shows the writer’s potential and it is clear that the author is in no way trying to follow the easy path. ‘We can see the spiritual energy put into the process of writing, and that is why we must think that we now have another author in contemporary Georgian prose who has extraordinary vision and an already rather high professional mastery.’
Shota Iatashvili, poet, critic
‘For me the main plus in this novel is the atmosphere which the author creates. It is so powerful that at the first reading I kept interrupting my reading, came back to life for a while before continuing, because the atmosphere created was rather oppressive. I have known the author for some time and I would note that both of us lived in an outer suburb of Tbilisi, and the outer suburbs, true, didn’t exactly bring war upon themselves, but were transformed into just such an anti-Utopian space. As a consequence of the spectre of war, they became closed spaces, from which children were not allowed into the centre by their parents, in case there was a war. The same enclosed space is in this book, only it is an isolated city connected by a cable-way to the rest of the world, and I really do remember that my district was just like that, one tram and one bus (three times a week) were the only links with the outer world.’
Alexander Lortkipanidze, poet, critic
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