Abstract
Abstract Vladimir Sorokin is one of the most gifted, and certainly the most notorious, among the group of younger writers who surfaced from the ‘underground ‘ in the late 1980s. Their hallmark was a general iconoclasm: the rejection of realism in all its variants; frequent reference to sex, bodily functions, and other taboo subjects; an emphasis on style and linguistic game-playing as opposed to ethical content, and an avowedly detached, ironic stance towards political and social questions.
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