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The prizewinning memoir of one of the world’s great writers, about coming of age and finding her voice amid the hardships of Stalinist Russia
Born across the street from the Kremlin in the opulent Metropol Hotel-the setting of the New York Times bestselling novel A Gentleman in Moscow by Amor Towles-Ludmilla Petrushevskaya grew up in a family of Bolshevik intellectuals who were reduced in the wake of the Russian Revolution to waiting in bread lines. In The Girl from the Metropol Hotel, her prizewinning memoir, she recounts her childhood of extreme deprivation - of wandering the streets like a young Edith Piaf, singing for alms, and living by her wits like Oliver Twist, a diminutive figure far removed from the heights she would attain as an internationally celebrated writer. As she unravels the threads of her itinerant upbringing-of feigned orphandom, of sleeping in freight cars and beneath the dining tables of communal apartments, of the fugitive pleasures of scraps of food - we see, both in her remarkable lack of self-pity and in the two dozen photographs throughout the text, her feral instinct and the crucible in which her gift for giving voice to a nation of survivors was forged.
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The prizewinning memoir of one of the world’s great writers, about coming of age and finding her voice amid the hardships of Stalinist Russia
Born across the street from the Kremlin in the opulent Metropol Hotel-the setting of the New York Times bestselling novel A Gentleman in Moscow by Amor Towles-Ludmilla Petrushevskaya grew up in a family of Bolshevik intellectuals who were reduced in the wake of the Russian Revolution to waiting in bread lines. In The Girl from the Metropol Hotel, her prizewinning memoir, she recounts her childhood of extreme deprivation - of wandering the streets like a young Edith Piaf, singing for alms, and living by her wits like Oliver Twist, a diminutive figure far removed from the heights she would attain as an internationally celebrated writer. As she unravels the threads of her itinerant upbringing-of feigned orphandom, of sleeping in freight cars and beneath the dining tables of communal apartments, of the fugitive pleasures of scraps of food - we see, both in her remarkable lack of self-pity and in the two dozen photographs throughout the text, her feral instinct and the crucible in which her gift for giving voice to a nation of survivors was forged.