Novels
| English title | Russian title | Russian original publication | English translation | Genre |
|---|---|---|---|---|
| The Winter Queen | Азазель (Azazel) | 1998 | 2003 | Conspiracy mystery |
| The Turkish Gambit | Турецкий гамбит | 1998 | 2005 | Spy novel |
| Murder on the Leviathan | Левиафан (Leviathan) | 1998 | 2004 | Agatha Christie-type mystery |
| The Death of Achilles | Смерть Ахиллеса | 1998 | 2005 | Hired killer mystery |
| Special Assignments | Особые поручения | 1999 | 2007 | Comical adventure/gory thriller |
| The State Counsellor | Статский советник | 2000 | 2009 | Political mystery |
| The Coronation | Коронация, или Последний из Романов (Coronation, or the Last of the Romanovs/novels (polysemantic)) | 2000 | 2009 | High society mystery |
| She Lover of Death | Любовница смерти (Mistress of Death) | 2001 | 2009 | Decadent mystery |
| He Lover of Death | Любовник смерти (Lover of Death) | 2001 | 2010 | Dickensian mystery |
| The Diamond Chariot | Алмазная колесница | 2003 | 2011 | Ethnographic mystery |
| Jade Rosary Beads | Нефритовые Четки | 2006 | Different for each story in collection | |
| All the World's a Stage | Весь мир театр | 2009 | Theatrical mystery |
Akunin's stated goal in creating the Fandorin series was to try as many approaches to detective fiction as possible.
Read more about this topic: Erast Fandorin
Famous quotes containing the word novels:
“The present era grabs everything that was ever written in order to transform it into films, TV programmes, or cartoons. What is essential in a novel is precisely what can only be expressed in a novel, and so every adaptation contains nothing but the non-essential. If a person is still crazy enough to write novels nowadays and wants to protect them, he has to write them in such a way that they cannot be adapted, in other words, in such a way that they cannot be retold.”
—Milan Kundera (b. 1929)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)