Studies in Russian and Slavic Literatures, Cultures, and History

Brodsky Through the Eyes of His Contemporaries (Volume 1) offers a fascinating record of conversations with poets of various nationalities about Joseph Brodsky: Czeslaw Milosz, Roy Fisher, Lev Loseff, Bella Akhmadulina, Natalia Gorbanevskaya, Tomas Venclova, Viktor Krivulin, Alexander Kushner, and Elena Shvarts. In comparison with the first edition of this volume published in 1992 this new second edition is enlarged with three new interviews and a series of previously unpublished unique photographs from the personal archives of the author and the interviewees. The collection combines biographical details with a new and authoritative interpretation of the poetics, style, and ideas of one of the most influential poets to emerge in post-Stalinist Russia. As a poet, essayist, and playwright, Brodsky is widely known and read in the English-speaking world. This book is a superb guide to further study of Brodsky's work both for specialist scholars and general readers who are intoxicated by poetry.

A bold attempt at solving the riddle of Gogol’s novel Dead Souls. Gogol constructed the novel strictly according to a moral pattern. The novel thus proves to be a true descendant of medieval romance with its inseparable interrelation between ethics and epics.

Goncharov in the Twenty-First Century brings Ivan Goncharov’s work into a twenty-first-century critical framework, engaging with approaches from post-colonial and queer studies, theories of genre and the novel, desire, laughter, technology, philosophy, and mobility and travel.

The Karamazov Correspondence represents the first fully annotated and chronologically arranged collection of the Russian religious philosopher Vladimir S. Soloviev’s most important letters, the vast majority of which have never before appeared in English. Soloviev was widely known for his association with Dostoevsky in the final years of the novelist’s life, and these letters reflect many of the qualities and contradictions that also personify the title characters of The Brothers Karamazov.

In fourteen original essays, Baltic scholars offer bold views and fresh empirical perspectives on the events that have shaped the Baltic region throughout the twentieth century from the Great War, to ensuing wars of independence and interwar sovereignty, to World War II and post-war Sovietization experiments, to the fall of the Soviet Union.

Blank demonstrates that the borders of authorial creativity are not stable and absolute, that talented artists often transcend the classifications and paradigms established by critics. Featured in the volume are works by Pushkin, Dostoevsky, Tolstoy, Nabokov, Kharms, Malevich, Dobuzhinsky, and Shostakovich.

Professor Magnus Ljunggren looks back over his meetings with leading members of the Russian intelligentsia and their struggle with the totalitarian structures of Soviet and post-Soviet society.

From the German Black Forest to the Romanian and Ukrainian shores where it flows into the Black Sea, Europe’s second longest river connects ten countries, while its watershed covers four more. The Danube serves as an artery of a culturally diverse geographic region, frustrating attempts to divide Europe from non-Europe, and facilitating the flow of economic and cultural forms of international exchange. Yet the river has attracted surprisingly little scholarly attention, and what exists too often privileges single disciplinary or national perspectives. Adopting a multidisciplinary approach to the river and its cultural imaginaries, the anthology Watersheds: Poetics and Politics of the Danube River remedies this neglect and explores the river as a site of transcultural engagement in the New Europe.

“‘Our Native Antiquity’: Archaeology and Aesthetics in the Culture of Russian Modernism is one of those works whose theme seems to lie in plain view, but, until the appearance of this study, remained unnoticed… It introduces essential correctives to the history of national-cultural self-consciousness…. the author’s achievement is outstanding. [It] allows one to present modernism not only as a revolution of ideas and aesthetic tastes, but as a transformation of the symbolic ‘habitat,’ with an entire gamut of new sensations accompanying this radical restructuring of the cultural ecology.” —Boris Gasparov, Ab Imperio

This pioneering book is the first to present the postwar phenomenon of the New York Group of Ukrainian émigré poets as a case study for exploring cultural and aesthetic ramifications of exile. It focuses on the poets’ diasporic and transnational connections both with their country of origin and their adopted homelands, underscoring the group’s role in the shaping of the cultural and literary image of Ukraine abroad. Displacements, forced or voluntary, engender states of alterity, states of living in-between, living in the interstices of different cultures and different linguistic realities. The poetry of the founding members of the New York Group reflects these states admirably. The poets accepted their exilic condition with no grudges and nurtured the link with their homeland via texts written in the mother tongue. This account of the group’s output and legacy will appeal to all those eager to explore the poetry of East European nations and to those interested in larger cultural contexts for the development of European modernisms.

A century ago the Symbolists in Moscow and St. Petersburg dreamed of a fundamental transformation of life in Russia. From their reading of signs in the heavens, these poets, philosophers, and mystics sensed that tsardom was on the threshold of an apocalyptic upheaval. They were influenced by Vladimir Solovyov and Friedrich Nietzsche, but under the impact of the 1905 Revolution they later also subscribed to current radical political ideas. The eventual collision between these dreams and tsarist reality generated enormous intellectual turbulence and the need for substitutes. Not least psychoanalysis came to the rescue of these stranded dreamers. The present collection of essays is intended for readers interested in Russian literature or the early history of Eastern European offshoots of psychoanalysis.

This groundbreaking critical biography of Andrei Siniavskii (1925-1997) as a writer in and of his time shows how this subtle and complex author found his way in a society polarized into heroes and villains, patriots and traitors, how he progressed from identification with the value system and ideology of his time to reaction against it, and his dissidence expressed in literary terms. Based on a close reading of his work, Andrei Siniavskii: A Hero of his Time? explores the way in which Siniavskii’s art does not simply reflect the circumstances of his life and times but is actively shaped by an intricate commerce between the two.

In this ground-breaking book, based on archival and field research and previously unknown historical evidence, Maxim D. Shrayer introduces the work of Ilya Selvinsky, the first Jewish-Russian poet to depict the Holocaust (Shoah) in the occupied Soviet territories. In January 1942, while serving as a military journalist, Selvinsky witnessed the immediate aftermath of the massacre of thousands of Jews outside the Crimean city of Kerch, and thereafter composed and published poems about it. Shrayer painstakingly reconstructs the details of the Nazi atrocities witnessed by Selvinsky, and shows that in 1943, as Stalin’s regime increasingly refused to report the annihilation of Jews in the occupied territories, Selvinsky paid a high price for his writings and actions. This book features over 60 rare photographs and illustrations and includes translations of Selvinsky’s principal Shoah poems.

Robin Davies here demonstrates that Nabokov’s Pale Fire has a classical unity and represents a direct attack on T.S. Eliot’s philosophical position, particularly as given in The Waste Land and as represented by Eliot’s later tendency for conservatism in literature, politics, and religion. After Nabokov was forced into exile from Germany and then France in the 1930s with his young son and Jewish wife, Eliot’s passivism must have seemed to him the very antithesis of survival. The enigmatic Pale Fire and its surface triviality suggested that there could be self-consistent logic within the obvious commentary of Charles Kinbote and John Shade’s poem. Davies places this work in its vast European context, forming a bridge between Russian and European literature which will be appreciated by scholars of both.

Yuri Leving's Keys to “The Gift”: A Guide to Vladimir Nabokov's Novel is a new systematization of the main available data on Nabokov's most complex Russian novel, The Gift (1934–1939). From notes in Nabokov's private correspondence to scholarly articles accumulated during the seventy years since the novel’s first appearance in print, the work draws from a broad spectrum of existing material in a succinct and coherent way, as well as providing innovative analyses. The first part of the monograph, "The Novel," outlines the basic properties of The Gift ( plot, characters, style, and motifs) and reconstructs its internal chronology. The second part, "The Text," describes the creation of the novel and the history of its publication, public and critical reaction, challenges of the English translation, and post-Soviet reception. Along with annotations to all five chapters of The Gift, the commentary provides insight into problems of paleography, featuring unique textological analysis of the novel based on the author's study of the archival copy of the manuscript.

Life in Transit is the long-awaited sequel to Shimon Redlich’s widely acclaimed Together and Apart in Brzezany, in which he discussed his childhood during the War and the Holocaust. Life in Transit tells the story of his adolescence in the city of Lodz in postwar Poland. Redlich’s personal memories are placed within the wider historical context of Jewish life in Poland and in Lodz during the immediate postwar years. Lodz in the years 1945-1950 was the second-largest city in the country and the major urban center of the Jewish population. Redlich’s research based on conventional sources and numerous interviews indicates that although the survivors still lived in the shadow of the Holocaust, postwar Jewish Lodz was permeated with a sense of vitality and hope.

Epic and the Russian Novel from Gogol to Pasternak examines the origin of the nineteen- century Russian novel and challenges the Lukács-Bakhtin theory of epic. By removing the Russian novel from its European context, the authors reveal that it developed as a means of reconnecting the narrative form with its origins in classical and Christian epic in a way that expressed the Russian desire to renew and restore ancient spirituality. Through this methodology, Griffiths and Rabinowitz dispute Bakhtin’s classification of epic as a monophonic and dead genre whose time has passed. Due to its grand themes and cultural centrality, the epic is the form most suited to newcomers or cultural outsiders seeking legitimacy through appropriation of the past. Through readings of Gogol’s Dead Souls—a uniquely problematic work, and one which Bakhtin argued was novelistic rather than epic—Dostoevsky’s Brothers Karamazov, Pasternak’s Dr. Zhivago, and Tolstoy’s War and Peace, this book redefines “epic” and how we understand the sweep of Russian literature as a whole.

All the Same the Words Don't Go Away brings together twenty-five years of essays and reviews, linked loosely by three themes. The first explores the legacy of Mikhail Bakhtin: his ideas of dialogue and carnival, and the debates ignited by each. The second delves into three "master workers" of the Russian tradition: Pushkin, Tolstoy, and Dostoevsky. In this section, emphasis is comparative: the riddle of Pushkin's life, why "Tolstoy versus Dostoevsky," how Chekhov reads Tolstoy, why Kundera dislikes Doestoevsky and Tolstoy dislikes Shakespeare. The final section addresses the transposition of classic literary texts into other media through musical works by Musorgsky, Tchaikovsky, Shostakovich, and Prokofiev. Throughout, the fundamental heroes are Pushkin's Tatiana Larina and Boris Godunov. This volume will be of interest to comparativists and students in interdisciplinary humanities.

The renowned Russian writer Leo Tolstoy created a realistic masterpiece in Anna Karenina (1878). In the same work, moreover, he utilized allegory and symbol to an extent and at a level of sophistication unknown in his other works. In Browning’s study, the author identifies and analyzes previously unnoticed or only briefly mentioned “linkages and keystones” found in two highly developed clusters of symbols, arising from Anna’s momentous train ride and peasant nightmares, and of allegories, rooted in Vronsky’s disastrous steeplechase. Within this labyrinth of symbol, allegory and structural patterning lies embedded much of the novel’s most significant meaning. This study will be of particular interest to students and scholars of Russian literature, Tolstoy, symbol, allegory, structuralism, and moral criticism.

Ivan Konevskoi: “Wise Child” of Russian Symbolism is the first study in any language of Ivan Konevskoi –— poet, thinker, mystic— – for many decades the “lost genius” of Russian modernism. A fresh and compelling figure, Konevskoi plunged deeply into the currents of modern mystical thought and art in the 1890s. A passionate searcher for immortality, he developed his own version of pantheism meant to guard his unique persona from dissolution in the All-One. The poetry of Tiutchev, Vladimir Solov’ev Soloviev and Rossetti, William James’s psychology, paintings of Pre-Raphaelites and Arnold Boecklin, Old Russian historical myth, the Finnish Kalevala: all engaged him during his brief life. His worldview grew more audacious, his confidence in the magical power of the word grew more assured. Drowning in 1901 at 23, Konevskoi left a legacy unfinished, rich, and intriguing.

While he is widely acknowledged as the most important Russian thinker of the nineteenth century, Vladimir Soloviev’s place in the landscape of world philosophy nevertheless remains uncertain. Approaching him through a single synoptic lens, this book foregrounds his unique envisioning of the interaction between humanity and the material world. By investigating the development of a single theme in his work—his idea of the “spiritualization of matter”, the “task” of humanity—Smith constructs a rounded picture of Soloviev’s overall importance to an understanding. If nineteenth-century thought, as well as to modern theology and philosophy. The picture that emerges is of a writer whose contribution to a Christian philosophy of matter resonates with many of the religious debates of modernity.

Now available for the first time in English, Oleg Lekmanov’s critically acclaimed Mandelstam presents the maverick Russian poet’s life and work to a wider audience and includes the most reliable details of the poet’s life, which were recently found and released from the KGB archives. Through his engaging narrative, Lekmanov carries the reader through Mandelstam’s early life and education in pre-revolutionary Petersburg, at the Sorbonne in Paris, and in Heidelberg and his return to revolutionary Russia. Bold and fearless, he was quoted as saying: “Only in Russia do they respect poetry. They even kill you for it.” Osip Mandelstam compared a writer to a parrot, saying that once his owner tires of him, he will cover his cage with black cloth, which becomes for literature a surrogate of night. In 1938, Mandelstam was arrested and six months later became a statistic: over 500,000 political prisoners were sent to the Gulags in 1938; between 1931 and 1940, over 300,000 prisoners died in the Gulags. One of them was the poet Osip Mandelstam. This is the tragic story of his life, pre-empted by the black cloth of Stalinism.

Victor Zhivov's Language and Culture in Eighteenth-Century Russia is one of the most important studies ever published on eighteenth-century Russia. Historians and students of Russian culture agree that the creation of a Russian literary language was key to the formation of a modern secular culture, and this title traces the growth of a vernacular language from the "hybrid Slavonic" of the late seventeenth century through the debates between "archaists and innovators" of the early nineteenth century. Zhivov's study is an essential work on the genesis of modern Russian culture; the aim of this translation is to make it available to historians and students of the field.

One of the most fascinating and controversial novels of the twentieth century, Vladimir Nabokov’s Lolita is renown for its innovative style and notorious for its subject matter and influence on popular culture. A Reader’s Guide to Nabokov’s “Lolita” carries readers through the intricacies of Nabokov’s work and helps them achieve a better understanding of his rich artistic design. The book opens with a detailed chronology of Nabokov’s life and literary career. Chapters include an analysis of the novel, a discussion of its precursors in Nabokov’s work and in world literature, an essay on the character of Dolly Haze (Humbert’s “Lolita”), and a commentary on the critical and cultural afterlife of the novel. The volume concludes with an annotated bibliography of selected critical reading. The guide should prove illuminating both for first-time readers of Lolita and for experienced re-readers of Nabokov’s classic work.

Written at the height of Stalin's first "five-year plan" for the industrialization of Soviet Russia and the parallel campaign to collectivize Soviet agriculture, Andrei Platonov's The Foundation Pit registers a dissonant mixture of utopian longings and despair. Furthermore, it provides essential background to Platonov's parody of the mainstream Soviet "production" novel, which is widely recognized as one of the masterpieces of twentieth-century Russian prose. In addition to an overview of the work's key themes, it discusses their place within Platonov's oeuvre as a whole, his troubled relations with literary officialdom, the work's ideological and political background, and key critical responses since the work's first publication in the West in 1973.

Early Modern Russian Letters: Texts and Contexts brings together twenty essays by Marcus C. Levitt, a leading scholar of eighteenth-century Russian literature. The essays address a spectrum of works and issues that shaped the development of modern Russian literature, from authorship and philosophy to gender and religion in Russian Enlightenment culture. The first part of the collection explores the career and works of Alexander Sumarokov, who played a formative role in literary life of his day. In the essays of the second part Levitt argues that the Enlightenment’s privileging of vision played an especially important role in eighteenth-century Russian self-image, and that its “occularcentrism” was profoundly shaped by Orthodox religious views. Early Modern Russian Letters offers a series of original and provocative explorations of a vital but little studied period.

For several decades David Bethea has written authoritatively on the “mythopoetic thinking” that lies at the heart of classical Russian literature, especially Russian poetry. His theoretically informed essays and books have made a point of turning back to issues of intentionality and biography at a time when authorial agency seems under threat of “erasure” and the question of how writers, and poets in particular, live their lives through their art is increasingly moot. The lichnost’ (personhood, psychic totality) of the given writer is all-important, argues Bethea, as it is that which combines the specifically biographical and the capaciously mythical in verbal units that speak simultaneously to different planes of being. Pushkin’s Evgeny can be one incarnation of the poet himself and an Everyman rising up to challenge Peter’s new world order; Brodsky can be, all at once, Dante and Mandelstam and himself, the exile paying an Orphic visit to Florence (and, by ghostly association, Leningrad).This sort of metempsychosis, where the stories that constitute the Ur-texts of Russian literature are constantly reworked in the biographical myths shaping individual writers’ lives, is Bethea’s primary focus. This collection contains a liberal sampling of Bethea’s most memorable previously published essays along with new studies prepared for this occasion.

Lev Tolstoy has held the attention of mankind for well over a century. A supremely talented artist, whose novels and short stories continue to entrance readers all over the world, he was at the same time a fearless moral philosopher who explored and challenged the fundamental bases of human society—political, economic, legal, and cultural. Hugh McLean, Professor Emeritus of Russian literature at the University of California, Berkeley, has been studying and writing about Tolstoy for many years. In these essays he investigates some of the numerous puzzles and paradoxes in the Tolstoyan heritage, engaging both with Tolstoy the artist, author of those incomparable novels, and Tolstoy the thinker, who, from his impregnable outpost at Yasnaya Polyana, questioned the received ideas and beliefs of the whole civilized world. In two concluding essays, "Tolstoy beyond Tolstoy," McLean deals with the impact of Tolstoy on such diverse figures as Ernest Hemingway and Isaiah Berlin.

Major statements by the celebrated Russian poet Boris Pasternak (1890-1960) about poetry, inspiration, the creative process, and the significance of artistic/literary creativity in his own life as well as in human life altogether, are presented here in his own words (in translation) and are discussed in the extensive commentaries and introduction. The texts range from 1910 to 1946 and are between two and ninety pages long. There are commentaries on all the texts, as well as a final essay on Pasternak’s famous novel, Doctor Zhivago, which is looked at here in the light of what it says on art and inspiration. Although universally acknowledged as one of the great writers of the twentieth century, Pasternak is not yet sufficiently recognized as the highly original and important thinker that he also was. All his life he thought and wrote about the nature and significance of the experience of inspiration, though avoiding the word “inspiration” where possible as his own views were not the conventional ones. The author’s purpose is (a) to make this philosophical aspect of his work better known, and (b) to communicate to readers who cannot read Russian the pleasure and interest of an “inspired” life as Pasternak experienced it.