Master of the Grass, Volumes 32-33

Front Cover
GLAS Publishers, Jan 1, 2004 - Fiction - 208 pages
0 Reviews
Nina Gabrielyan's happy amazement at the unceasing wonders of the ordinary world around her is irresistible. Moving from the real to the surreal, she invites the reader to come with her into these two realities, which eventually turn out to be one and the same, a place where the magic and the mundane merge, a reality that may at times be tragic or ridiculous, but is always exciting.

The novelMaster of the Grassis the life story of a man passionately in love with himself and at odds with the world. As a young boy he is fascinated by his own reflection. He repeatedly attempts, as it were, to enter the land beyond the looking glass, trying to reach the other self in the mirror. What begins as a childish game turns into genuine Narcissism, damaging his own life and that of his young wife.

In "The Lilac Dressing Gown" an intense young girl takes refuge in her imagination especially every time she sneaks into her mother's wardrobe to try on her elegant dressing gown. In "The Studio Apartment" a lonely woman communicates with her apartment as though it were a living being. The apartment is her own micro-cosmos that comes alive with each new visitor. In her imagination the apartment resists any improvements, as if it possessed its own inherent essence, and reacts in very different ways to each new pretender to her heart.

From inside the book

What people are saying - Write a review

We haven't found any reviews in the usual places.


Master of the Grass
The House in Metekhi Street

Common terms and phrases

About the author (2004)

Nina Gabrielyan, an Armenian by birth, grew up in Moscow. A leading feminist and noted scholar, she writes on women and culture. She has two collections of poems and two collections of stories to her credit as well as numerous translations of Armenian poetry from the Middle Ages to the present.Also a distinguished painter, Gabrielyan brings her art to her stories whose vivid descriptions of people and objects reflect her abiding fascination with the miracle of transformation and the "fragile carapace that separates us from death".

Bibliographic information