For twenty years, Kate Atkinson writes detective stories, but in Russian translations we learned about her recently and still have not fully recovered from the joy of meeting them. Atkinson skillfully knows how to put crime scenes into universal ones, switch the angle of view, put into action a lot of characters and then do not forget to follow everyone. All this is so incredibly good for the detective, it is not surprising that sooner or later Atkinson was supposed to end the novel. In 2013, her Life After Life was published, a book whose non-inclusion on the Booker shortlist became almost the main English literary scandal. The book begins before the First World War, and ends after the Second. This is an important period: every Englishman who is engaged in national self-digging will invariably be here. There is one more obligatory sign of the novel about yesterday’s English idyll - an estate with a strange name, where a whole crowd of children grows noisy. At the same time, it is difficult to call the book a classic novel: the trick here is how the main character, Ursula, is able to anticipate and replay death. Every time she dies, she starts over again, eventually saving herself and her family and friends. This is not just a pipe dream of a detective story reader, so that the answer canceled the crime itself, but an attempt to answer another request: is it possible to go through the millstone of history completely, and if so, at what cost?