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With a dramatic flair and a deep, multilayered voice, he pulls off a host of fantastical characters including Professor Woland (Satan) and several of his associates, Pontius Pilate and Jesus Christ, witches and madmen and a variety of early 20th-century Moscow literary and theater types.Two minor caveats: a few characterizations are too nasal, and his cockney accents for low-class Russian characters are a bit disconcerting.This complex, multilayered, and Rabelaisian novel is impossible to summarize.Suffice it to say that when Satan incognito brings a hellish gang to the officially atheist USSR, mayhem ensues, in the course of which the author verbally skewers the Soviet literary, social, and political establishments.
In this world, art of any form was a dangerous currency, and the State did everything it could to ensure that only those works of which it approved were published. For a start, it is a satire, and people holding absolute power are rarely amused by being mocked.
How this posthumously published satire got written in Stalinist Russia and survived is as fascinating a story as the one it tells.