Yurii Mamleevs "necrophiliac variant" of the Underground is the starting-point for Tigountsovas "third way" in Russian prose. This is an a-Soviet way (neither pro- nor dissident), connected to the paradox of Russian space - which goes on forever, even though every human being seems cramped and stuck away in corners or prison cells. Tigountsova is good with this parameter. As she notes, "even the metaphysical is cramped." Mind, house, homeland are analogues of one another. Why do walls constructed to contain space in the mind /house /homeland of Russia and Russian literature so rarely lead to...