RICK K. REUT
I was born in a small Belarusian town called Borisov, which was still a part of the USSR in the ice-cold-war winter of a more than symbolic 1984, in a world so hopelessly Orwellian that it is still falling apart from sleepless dreams to become brave new. This may as well be the reason for my first book title.
Growing up on American Movies and British Rock Music made me Bilingual. Trilingual, if you count the dying Belarusian language we were customarily made to study at school. I could even go as far as calling myself “quad-lingual” every time I recall the revolting bits and pieces of minced German tongue the teachers tried their worst to force down my throat in college. But, to the pseudo-patriotic pride and pleasure of an unnaturally born Brit, they failed miserably. However, as an outcome of the conditioned reflex I acquired at that time, I still run for a plastic bag each time I hear the Reich Kanzler open her mouth on TV.
An avid reader of American and English literature since high school, starting with Jack London’s Martin Eden, I have always been madly in love with the language and its literary legacy. This love may also be responsible for the monstrous mixture of an American Englishman at heart and an Australian of New Zealand’s breed somewhere below the equatorial belt I am today. Yes, and a Belarusian neck up, which I try my best to hide behind a philosopher’s beard in shame for my country’s current political regime.
I began to write lyrics in English around the age of 15, in Russian around 18, in prose around 20, and in letters around the whole wide world in two years of unrequited affection that made me consider the pastime seriously. And so I wrote. Mostly for and to myself, but then more and more frequently to others. Despite the latter’s enduring encouragement, I’d never tried publishing outside the campus community. That is, not till now.
Having studied up to a BA in both literature and philosophy in 2006 and 2010, respectively, I also happen to be the author of two theses: “The Problem of Post-Gender Identity in Contemporary Social Theory” (in Russian; Department of Philosophy, European Humanities University, Vilnius, Lithuania) and “Pulp Fiction 2, from Shakespeare 2 Tarantino and Back, an Inter-Textual Language Analysis of the Evolution of the Dramatic Genre from the 16th Century Play to the 20th Century Screenplay” (in English; Department of Philology, St. Petersburg’s State University, St. Petersburg, Russia, a Pilot Program in Collaboration with Bard College of Liberal Arts, USA).
All this academic abracadabra, however, is hardly of any help when it comes to making the mentioned sleepless dreams come true unless someone gives them a little literary lift.
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