Debra Dean

The Madonnas Of Leningrad

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“An extraordinary debut, a deeply lovely novel that evokes with uncommon deftness the terrible, heartbreaking beauty that is life in wartime. Like the glorious ghosts of the paintings in the Hermitage that lie at the heart of the story, Dean’s exquisite prose shimmers with a haunting glow, illuminating us to the notion that art itself is perhaps our most necessary nourishment. A superbly graceful novel.”  — Chang-Rae Lee, New York Times Bestselling author of Aloft and Native Speaker
Bit by bit, the ravages of age are eroding Marina's grip on the everyday. An elderly Russian woman now living in America, she cannot hold on to fresh memories—the details of her grown children's lives, the approaching wedding of her grandchild—yet her distant past is miraculously preserved in her mind's eye.
Vivid images of her youth in war-torn Leningrad arise unbidden, carrying her back to the terrible fall of 1941, when she was a tour guide at the Hermitage Museum and the German army's approach signaled the beginning of what would be a long, torturous siege on the city. As the people braved starvation, bitter cold, and a relentless German onslaught, Marina joined other staff members in removing the museum's priceless masterpieces for safekeeping, leaving the frames hanging empty on the walls to symbolize the artworks' eventual return. As the Luftwaffe's bombs pounded the proud, stricken city, Marina built a personal Hermitage in her mind—a refuge that would stay buried deep within her, until she needed it once more. . . .
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226 printed pages
Original publication
2009
Publication year
2009
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Quotes

  • b7711255182has quoted7 years ago
    Marina remembers her teachers in school describing a phenomenon called pentimento. Indigent painters would sometimes reuse canvases, covering over inferior paintings with a coat of pigment and then painting a fresh picture. With time, as the oils aged, the old image might appear ghostlike behind the new.
  • b7711255182has quoted7 years ago
    that he is simply attracted to the book, as toddlers are. But Raphael’s contemporaries would have seen it differently. They would have seen a miracle.”
  • b7711255182has quoted7 years ago
    She describes the Madonna before her, how small she is, how delicately colored, her formal, upright posture, the way her heavily lidded eyes are distant and peaceful. And the way that the child appears to be reading the open prayer book in Mary’s hand.
    “Of course, the logical explanation is

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