The Star's critic MARIA DUARTE reviews Sebastian, Four Mothers, Restless, and The Most Precious of Cargoes
Refuge for the soul
MICHAL BONCZA recommends an exquisitely illustrated publication which charts the origins, rise and fall of the seminal Russian dacha

Dacha
by Anna Benn (words) and Fyodor Savintsev (photos)
Fuel £26.95
DACHAS are as much a state of mind as they are actual physical constructs.
They are a timeless cultural identity that evolved from an imperial legacy of recognition for services rendered — instead of an OBE you got a dacha — to what became an attainable, classless aspiration of city dwellers in the aftermath of the October Revolution.
Their association with the need for a retreat that offered physical and spiritual solace is, perhaps, best defined by Fyodor Dostoevsky in Crime and Punishment: “It was terribly hot outside, stuffy and crowded; everywhere there was whitewash, scaffolding, brick, dust and that certain summer stench so well known to every Petersburger who doesn’t have the means to rent a dacha.”
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