10 books like Omon Ra

Alexei Yurchak was part of the last Soviet generation—the last citizens born in the USSR who also lived through its collapse as adults. As the title suggests, Everything Was Forever Until It Was No More is a profound and poetic work about truth and what we come to accept as real. Yurchak wants to explain the paradox that, while Soviet people knew by the 1970s that their government was telling them almost nothing but untruths, they were still shocked to their core by their country’s demise. What I loved most about the book was Yurchak’s descriptions of ordinary life among his generation (their intriguing taste for the operatic qualities of metal, the elaborate public pranks they staged, the way they treated life like performance art). With pathos and humor in equal measure, Everything Was Forever Until It Was No More paints a brilliant portrait of a world that millions of… show more.

The Brezhnev era was when the Soviet elite decided not to come to terms with Stalin. This “fictional” memoir by one of Russia’s most interesting living writers is a penetrating meditation on fathers and sons, set against the backdrop of post-War Moscow. Erofeyev senior was Stalin’s official French interpreter, a believer in world revolution, avid tennis player, and tender parent. Erofeyev junior was a literary enfant terrible, who, by helping edit an almanac of underground writing in 1979, ended his father’s diplomatic career. The book is a beautifully crafted window into the personal and political of late communism.

The emergence of a dissident movement and the KGB’s efforts to control it were one of the dramas of the Brezhnev era. What better way to read the history than through the agency’s reports on the period’s premier dissident? Andrei Sakharov, nuclear physicist and “Domestic Enemy Number One,” survived the mind games and isolation, emerging to lead the campaign for memory in the late 1980s as Gorbachev loosened up. The book is fascinating on the fumbling efforts of Politburo gerontocrats, who often seem confused and outplayed, as well as on the circumlocutions and ideological distortions of a security agency determined to blur the true character of its operations.  

Another literary take on the era that’s impossible to leave out. The suitcase of the title is the one Dovlatov took into exile when he rode the wave of Jewish emigration to New York in 1979. On the bottom of the suitcase, a picture of Karl Marx; on the inside lid, a photograph of Joseph Brodsky—and in between the debris of a life lived between the dual myths of revolution and poetry. Each story in the collection takes off from a different item in the suitcase—three pairs of Finnish stockings, a pair of driving gloves, a prison guard’s belt… Dovlatov is one of those authors who is hard to imagine writing in any other period—his style, mentality, humor, and turn of phrase are so perfectly attuned to time and place. Whimsical, dark, and often funny.

Based on extensive interviews with women astronauts and cosmonauts, this remarkable book traces the thorny path of women into the elite corps of space travelers. This book made me realize that, despite all ideological differences between the Cold War superpowers, the human spaceflight programs in both the Soviet Union and the United States were woefully similar in their cult of masculinity and competitive spirit. Kevles skillfully combines her sharp analysis of gender attitudes in different national space programs and historical periods with a poignant human story of women’s struggle for the right to fly into space.

This book explores the Soviet efforts to turn a living person into a propaganda icon that would embody and transmit communist values around the world. While Gagarin’s open and warm personality did resonate with wide audiences, he felt increasingly uneasy about his assigned public role, which forced him to lie, distort, and pretend. 

I find this well-documented story an excellent illustration of the Soviet use of cosmonauts in the propaganda machine: to function effectively as propaganda tools, the cosmonauts had to fulfill ritual public functions at the expense of training for new flights, and to swap their professional identity for the role of an ideologically engaged public speaker.

I was fascinated by how much cultural representations of astronauts and cosmonauts reveal about our societies in this rich and diverse volume. US pop culture is analyzed through astronaut gender representations in TV series, different portrayals of pilots-astronauts and scientists-astronauts in the movies, and the use of American frontier mythology tropes. Comparing representations of spacefarers in different national cultures shows that even glossy magazines carried an ideological message: Soviets traced their achievements to the advantages of socialism, while Americans touted liberty and openness. Finally, cultural attitudes are revealed by media attention to the changing professional, gender, and race demographics of the astronaut corps in the 1980s. In particular, the media treated women astronauts differently from men by emphasizing their feminine traits and family life instead of focusing on space work.

As explorers carrying cameras, the Gemini and Apollo astronauts (1965-72) were like the pioneer photographers of the 19th century who, with their cameras, responded to the unknowns of the American West. These astronauts, however, were responding to the new and unexplored by photographing their experiences inside their spacecraft and outside in the vacuum of space. During the late 90s the photographer Michael Light gained access to NASA’s Apollo-era photo archive and made the first drum-scanned digital files from perfect copies of the original flight films. Light’s artful editing and juxtaposition of superbly reproduced full-page black and white, and color images creates a cinematic-like journey to the moon and back. In the annals of published space photography, there are very few well-designed books as timeless.

In this Japanese light novel, vampires are an oppressed people living in a country adjoining a Soviet Union-like country, the Republic of Zirnitra. In this world, almost all of the stories you've heard about vampires being evil and hunting humans are Zirnitran propaganda, but vampires do drink blood and are sensitive to sunlight. Irina is a young vampire woman who volunteers to be a test subject for the Zirnitran space program so she can get closer to the moon, which she loves. The story is based on the real Soviet space program of the 1960s and I rooted for Irina as she overcame her own fears and Zirnitran oppression to fly in orbit and see her beloved moon up close before any human went into orbit.

Cunningham was one of those mean little SOBs, and his attitude was hardly improved when his astronaut career was torpedoed by the bad behavior of his mission commander on Apollo 7, Wally Schirra, which tainted the entire crew for the NASA brass. It turns out that Cunningham could also write, and the result is this pungent memoir — the title is loaded with irony. It is the least constrained of all the astronaut memoirs, unmistakably in Cunningham’s own pugnacious voice.