A distinctive feature of Natalia Valentinovna Soldatova’s novels is the absence of deliberate melodrama, any desire to scare the reader, or the urge to—once scared—lead the reader by the hand. Natalia Soldatova works painstakingly, creating a complex picture, acting gently but precisely. Her reader doesn’t skim the lines just looking for the answer to the question: “And who committed such a cruelty?”
The novel “A Dream in Hand” demonstrates exactly this stylistic approach. The text gradually fills with characters, and each one fulfills their role within the overall symphony, like string and brass instruments in a well-rehearsed orchestra. It is the multi-character nature, spatial multi-layeredness, and the abundance of different interests and actions that determine how the plot develops. In the author’s manner, one can sense techniques of a classic detective novel. Agatha Christie and French authors of the first third of the 20th century didn’t abuse “bloodiness,” and Natalia Soldatova remains faithful to the style of the classics.