God Lives in St. Petersburg: And Other Stories

It's possible I'm biased because of my interest in Central Asia. I'm not sure how this book would be received by someone with no interest in the region, but I suspect it would still be a great read. For me, this was the first book in a long time that brought out the 'just a few more pages' type of mentality that keeps you reading until the wee hours of the morning (it's a short book though, so start it early in the day so you don't stay up too late!). One of the greatest parts of this is how each story seems to speak to a different part of me. I really enjoyed it. And with the used prices below a dollar, I think you'd be missing out not to pick it up.

As I read, I was looking at the structural underpinnings of theses stories. I was interested in what happened to a story that was told in a foreign land. What role does place play in the exotic story? How does a writer balance the need to explain the exotic with the need tell a story? What stories can be told only in an exotic land and why? And of course, there were no real answers. In some of the stories ("Aral," and to a lesser degree, "Death in Defier") place is integral to the telling of the story. The place is an import part of the plot and is treated as another character that acts within (or upon) the story. Place influences the lives of the characters and their decisions. The movement of the story depends on the place. It is difficult to imagine the story unfolding in any other location, just like it is difficult to imagine the same story with different characters. Change the place and you change the story. Other stories ("The Ambassador's Son," "God Lives in St. Petersburg," "Expensive Trips Nowhere") are less dependent on place. The real action in the story involves the characters. Although the stories unfold in Central Asia, they could (perhaps) just as easily take place in Africa, Mexico, or rural Alabama. The stories are character driven. It is also interesting to see how politics are woven into the stories. The characters in "Death in Defier" all hold different political views, and those views are drawn in contrast to the shared reality of life between Mazar and Kunduz. I also noticed that although place can have some of the same characteristics in a story as character, they are not the same. And even if you have a character that is moving through and engaging with an exotic landscape, it is not the same dynamic as characters interacting with one another. A character interacting with an exotic place is not nearly as interesting, from the perspective of engaging fiction, as characters interacting with one another. Even in the stories that depend on place, it is still the character that carries the story forward. There is also the issue of back-story. It can really slow the action, particularly in the short story. But back-story seems sometimes vital in developing character and motivation. Bissell does not shy away from back-story, nor does he seem to have a problem with switching POV. In "Expensive Trips Nowhere," the POV switches among the three characters. Back-story stretches across pages and between characters. The main event of the story, an attempted high-country mugging, is actually told as back-story. And I am not sure if it works. This sort of forward, back, in and out, motion certainly does not make for a clean narrative trajectory. And there is some information that is redundant (like the guide's twice told history of service in Afghanistan). But I can also say that I found the story engaging and did not get the sense that it ever stalled. All in all this is a great collection. And it can be simply enjoyed by an adv

From the first few pages of this book, we know we are reading a master who knows the facts in Afghanistan and the smaller new nations just north of it , and south of Russia. Every yarn is unique, some with tons of black humor, others placing you right inside the Afghan war. The first tells of a journalist trying his best to get some penicillin for his malaria sticken pal, including risking his life in a mad rush near the battlesgrounds, to a supposed plant/field that can kill the disease. The end is shocking, and horrific. In "The Ambassador's Son" we are inside the wild west flavor of a new "Istan" nation,including some of the zaniest writing imaginable. To compare this author with Hemingway, Kiplang, and Greene is indeed not a stretch. In fact, I even prefer this short collection to many of the past "Classics" of foreign intrigue and war.

Bissell, who is very young (born in 1974)to be writing short stories with this kind of wisdom, worked as a Peace Corps volunteer near the Aral Sea and has used his experiences in South Central Asia and Eastern Europe, delving into the lives of journalists haunted by demons, searchers, spoiled rich brats, do-gooders, criminals, sociopaths, and a litany of misfits to produce a rare feat of fiction--literary short stories that have the feel of expose. He takes you into the heart of modern day Afghanistan, for example, in his story "Death Defier," where an American journalist, haunted by family demons, appears to be a courageous photographer of truth on one hand and a man with a death wish on the other. In "Aral," his story that more than the others ventures into exposition and polemic, a nihilistic KGB officer lectures an American biologist UN worker about the "fat souls" of Americans who, for all their platitudes, know nothing of real suffering before subjecting the woman to a little trial of her own. In "The Ambassador's Son" a rogue narrates his licentious exploits and the manner in which he corrupts a Christian missionary. Amazingly, these stories can be peeled layer upon layer for their psychological depth while at the same time they percolate with the buzz of the chaos that we read about in the daily newspapers and blogs. A great achievement.