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James Meek writes:
The enveloping structure of Shishkin’s work is not so much a story as a prose portfolio, an exhibition you walk through in a particular order because that’s the way the pages are put together, as you might walk clockwise round a gallery. It sounds forbidding and obscure, but Maidenhair, first published in 2005, was a publishing hit in Russia, where it won two literary prizes, and in Germany. One explanation for this may be that the reading public has a greater appetite for experimental fiction than the cynics believe. Another may be the nature of Shishkin’s experiment, which relates to the enclosure, rather than to the entirety of its contents. Difficult as some passages are, there are long sections embedded within the book that are conventionally dramatic, even romantic, involving the quest for love embodied as grail, elixir, end.