In a parallel or future Estonia, whose language has been outlawed and its native population deported after invasion by the Russian Tsardom, Nikolai Vasilievich Gogol is resurrected, Christ-like, bringing phantasmagoric mayhem to the sleepy town of Viljandi. By the end of the story, four evangelists will have emerged from the novel’s ragtag cast of Russian-speaking beatniks, bohemians, booksellers, blaggers, and Beatles-maniacs to write their subversive Gogol Gospels in the local insane asylum, despite efforts to thwart them on the part of the mysterious Murka, heroine of a criminal underworld ballad and agent of the Tsardom’s secret police. By turns exuberant, grotesque, erudite, oneiric, hilarious, mystical, psychedelic, and dystopian, Gogol’s Disco tells the parable of a small nation, whose gigantic neighbor quite literally consigns its literature to the latrine, only for it to rise from the dead in a literarily spectacular apocalypse in the best traditions of Bulgakov and magic realism.