This essay distinguishes flight as a salient trope throughout multiple Pelevin texts: Omon Ra (1992), Chapaev and the Void (1996), Generation P (1999), Empire V (2006), Love for Three Zuckerbrins (2014). It examines through aesthetics of sublime—classical, (post)-Soviet, postmodern. The “aerial sublime” focuses on motifs flight, elevation, their reversal such descent going underground. Through ...
