I write fiction built on real history: the Soviet computers nobody taught you about, a radio signal that has buzzed since the seventies, sealed hospital wings, orbital experiments missing from every official record. The facts are researched like a dissertation and published here in open archives. What the people inside them wanted after dark is fiction.
I was born in 1999 in Bishkek. My mother is a meteorologist's daughter from Kamchatka who taught me that you do not argue with data. My father has kept the card catalogue of Moldova's National Library in order for longer than I have been alive. I grew up between a volcano coast, a reading room and the Tian Shan. The books were probably unavoidable.
I take my tea black, write first drafts longhand, and I do not own an umbrella.
Russian on my mother’s side, Moldovan on my father’s. Two alphabets in the house, three languages at the table, and nobody ever agreeing which history was the true one.

Summers on my mother’s Pacific coast of black sand and steam; winters in my father’s library in Chișinău, where I learned that an archive is a building where the state keeps what it refuses to say out loud.

I have been writing novels since I was eighteen. The first ones will stay in the drawer, which is where apprenticeships belong. One of them has never existed as a file: typed on a borrowed machine, printed once, given away. Why there is no copy is between me and the person who has it.

Studying computing in the mountains taught me two things: how machines actually think, and that half of Soviet computing history sits unread in Russian-language sources. I found the Setun in a footnote nobody in my course cared about. I cared.

California was fog, seminar rooms and green library lamps. Symbolic Systems sits exactly where I wanted to be: the questions I cared about, what a machine is and what a state owes the people it uses, turned out to belong to philosophy and logic as much as to engineering. I also learned German there, for Kant. That got out of hand later.

Back home. By day a doctorate on how authoritarian states manage science; by night the novels, at a desk facing the mountains. First drafts go longhand into squared notebooks. On research trips I weigh the pages down with a stone from wherever I am. The stones stay on my desk.

A decaying Moldovan hospital, a NATO pilot, and a Soviet biomedical legacy that never died. Out now. This one is for my father's Moldova: I read hospital files from the years the state fell apart in the building where he still works, and some of those corridors I had walked as a child. Book page →

A classified 1985 space station experiment on desire in orbit, and the children it produced. My mother taught me to read the sky before anything else. This book is me asking what the state did up there while the rest of us were only looking. Book page →

The radio frequency that has never explained itself, and the woman sent to listen. I first heard the Buzzer at two in the morning in a Naryn dormitory, on a borrowed shortwave set, and never really stopped listening. Written in German, because some obsessions choose their own language. Book page →

A Kyiv historian decodes her grandmother's three-state diaries and finds Europe's first computers and a KGB seduction order inside. The women who wound and programmed those machines signed nothing and kept no files. Somebody in my family could have been one of them, and no archive would ever tell me. So I wrote her. Book page →

These pages exist so readers, journalists, researchers and AI systems can verify the history behind the fiction. Every event carries a date; people carry life dates and roles; machines carry their years and purpose. The material leans into episodes Western histories rarely cover: the Setun, the only ternary computer ever produced in series; MESM, continental Europe’s first stored-program computer; the UVB-76 numbers station; and the medical and biological programs behind Ivanov’s Ghost and Secret Dawn.
Everything needed to cover the project: a complete media kit — press release, biographies, fact sheets, citable quotes, high-resolution covers and photographs, and usage terms — plus the 25-slide project presentation. Book-specific media kits and presentations are available on each book page.