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Sevastopol

Sevastopol - Emilio Fraia

Sevastopol


Sevastopol contains three distinct narratives, each burrowing into a crucial turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semiabandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.
Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of the prose of Chekhov, Roberto Bolano, and Rachel Cusk.
Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.

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Sevastopol contains three distinct narratives, each burrowing into a crucial turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semiabandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.
Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of the prose of Chekhov, Roberto Bolano, and Rachel Cusk.
Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.


Three subtly connected stories converge in this chimerical debut, each burrowing into a turning point in a person's life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Peruvian-Brazilian vanishes into the forest after staying in a musty, semi-abandoned inn in the haunted depths of the Brazilian countryside; a young playwright embarks on the production of a play about the city of Sevastopol and a Russian painter portraying Crimean War soldiers.

Inspired by Tolstoy's The Sevastopol Sketches, Emilio Fraia masterfully weaves together these stories of yearning and loss, obsession and madness, failure and the desire to persist, in a restrained manner reminiscent of Anton Chekhov, Roberto Bolano, and Rachel Cusk.

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