[A] striking study of what Belarus can teach the world about state violence, collective memory, and the role of poetry in fighting tyranny . . . [Mort] captures, through language, the contours of dissent. Soviet monuments remain upright in Minsk, like concrete odes to terror, repression, and silence. And yet Music for the Dead and the Resurrected feels like its own monument, not only to Belarusians but also to victims of state violence around the world
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