Notes

Introduction 1. Venedikt Erofeev, Moscow to the End of the Line, trans. H. William Tjalsma (Evanston: Northwestern University Press, 1980), 114. 2. S. Repov and A. Fufyrin, “Gei ne pei,” Argumenty i fakty 22 (2007): 2. 3. Mark Popovskii, Tret’ii lishnii: On, ona, i sovetskii rezhim (London: Over- seas Publications Interchange, 1985), 6. 4. The two bisexual women who have sex with the narrator in Vasilii Aksenov’s novel The Burn [Ozheg, 1980], the narrator’s sexual encounter with a homeless Black man in a park in Eduard Limonov’ It’s Me, Eddie [Eto ia—Edichka!] (1979), the homosexual couple who die a tragic death in Evgenii Popov’s short story “The Reservoir [Reservuar]” (1973), and the homosexual inmates portrayed with humanity by the émigré writer Sergei Dovlatov in The Zone [Zona, 1982] would be among the most notable examples. 5. Vitaly Chernetsky, Mapping Postcommunist Cultures: Russia and Ukraine in the Context of Globalization (Montreal and Kingston: McGill-Queen’s University Press, 2007), 146. 6. Larissa Lissyutkina, “Soviet Women at the Crossroads of Perestroika,” in Gender Politics and Post-Communism: Reflections from Eastern Europe and the Former Soviet Union, ed. Nanette Funk and Madga Mueller (New York: Routledge, 1993), 283, italics mine. Western sociologists have demonstrated that for a variety of reasons Russia’s bumpy transition to a market economy has indeed taken a larger toll on Russian men, as evidenced by, among other things, a falling life expectancy and rising rates of depression, alcoholism, and suicide, but not an increase in homosexu- ality! For more on the state of the post-Soviet male, see Sergei Kukhterin, “Fathers and Patriarchs in Communist and Post-Communist Russia,” Marina Kiblitskaya, “‘Once We Were Kings’: Male Experience of Loss of Status at Work in Post-Communist Russia,” and Elena Meshcherkina, “New Russian Men: Masculinity Regained,” in Gender, State and Society in Soviet and Post-Soviet Russia, ed. Sarah Ashwin (London and New York: Routledge, 2000), 71–89, 90–104, 105–17. 7. Leon Edelman, Homographesis. Essays in Gay Literary and Cultural The- ory (New York, Routledge, 1994), 6. 154 notes

8. Sergei Tikhomirov quoted in Eliot Borenstein, “About That: Deploying and Deploring Sex in Postsoviet Russia,” Studies in Twentieth Century Literature 24.1 (Winter 2000): 76fn. 9. Lisa Rofel, “Qualities of Desire: Imagining Gay Identities in China,” GLQ 5.4 (1999): 453. 10. Anna Wierzbicka, Semantics, Culture, and Cognition. Univeral Human Concepts in Culture-Specific Configurations (New York: Oxford Univer- sity Press, 1992), 21. 11. Edelman, Homographesis, 6. 12. Dan Healey, Homosexual Desire in Revolutionary Russia. The Regula- tion of Sexual and Gender Dissent (Chicago: University of Chicago Press, 2001), 253. 13. The film also features a pair of “gay” deputies in the Russian Duma, who in the final scene of the film are traveling in a cab with Uliumdzhi’s Uncle Vanya, also a politician. Uncle Vanya suddenly breaks into tears over the fate of his homosexual nephew. He tells the two deputies that he’d always wanted his nephew to be a deputy like them. With the shadow of a smile on their lips, they tell the uncle to have his nephew come and see them when he is released from the army and they’ll make a “deputy” out of him. 14. Of course, this was not always the case. In eighteenth- and nineteenth- century America, homosexuality was associated with the decadence of the European aristocracy, and in the late nineteenth and early twentieth centuries with the peasant and working class immigrants entering the country at the time. 15. See Dennis Altman, “Global Gaze/Global Gays,” GLQ 3 (1997): 417–36. 16. For more on the patriarchal nature of post-Soviet society, see Kukhterin, “Fathers and Patriarchs.” 17. Igor Kon, Seksual’naia kul’tura v Rossii. Klubnichka na berezke (Mos- cow: O. G. I., 1997), 370–71; Hilary Pilkington, “The Dark Side of the Moon? Global and Local Horizons,” in Looking West? Cultural Global- ization and Russian Youth Cultures, ed. Hilary Pilkington (University Park: The Pennsylvania State University Press, 2002), 162. 18. Moya Flynn and Elena Starkova, “Talking Global? Images of the West in the Youth Media,” in Looking West? Cultural Globalization and Russian Youth Cultures, ed. Hilary Pilkington (University Park: The Pennsylvania State University Press, 2002), 62–63. 19. Anatoly Vishevsky, “The Other Among Us: Homosexuality in Recent Russian Literature,” Slavic and East European Journal 42.5 (Winter 1998): 729. 20. It should be noted that these terms typically refer not to an openly “gay” lifestyle but to same-sex desire itself. 21. Dilia Enikeeva, Gei i lesbianki (Moscow: Astrel’, 2003), 5. 22. Iurii Longo, “Ne dyshite nam v zad,” Andrei 7 (1995): 56. notes 155

23. The most famous example of the confusion of discourse and reality occurred on a talk show in which a Russian woman in the audience remarked that “[in the Soviet Union] we don’t have sex [u nas seksa net].” Her statement was widely cited as evidence of the sexophobia of Soviet culture, although most commentators were unaware that the audience’s reaction—mostly guffaws—drowned out the second part of her statement: “on television.” For more on the incident, see Andrei Levin, “Rossiiski tainy: seksa net,” http://www.gazeta.ru/comments/ felieton/36890.shtml (accessed June 1, 2005). 24. Pilkington, “Dark Side of the Moon,” 162. 25. Sergeij Dobrotvorskij, “A Tired Death,” in Selbsidentifikation. Positionen St. Petersburger Kunst von 1970s bis heute/Self-Identification. Positions in St. Petersburg Art from 1970 until Today, ed. Kathrin Becker and Barbara Straka (Berlin: DruckVogt GmbH, 1994), 211. 26. Edelman, Homographesis, 12. 27. As the popular writer Mikhail Veller put it in his book Love of Evil [Liubov’ zla], “I’m also indifferent to tender and fruitless passion of sexual minor- ities: we let them enjoy equal rights and modestly turn our eyes to the other side—to the boundless territory where normal people [normal’nye liudi] are piled up one on top of the other” (Liubov’ zla [St. Petersburg: Neva, 2000], 7 [italics mine]). 28. Dilia Enikeeva, Seksual’naia patologiia [Sexual Pathology] (Moscow: Binom, 1997), 93 (italics mine). 29. Repov and Fufyrin, “Gei ne pei,” 2. 30. For a witty discussion of the Russian relationship to political correctness, see Tat’iana Tolstaia, “Politicheskaia korrektnost’ ili gil’otina blagikh namerenii. Ne spi, ne spi, khodozhnik,” Inostrannaia literatura (Sep- tember 9, 1995): 202–11. 31. Kon, Seksual’naia kul’tura, 354–55. 32. Iurii Terapiano, Introduction, in Zinaida Gippius. Izbrannoe, ed. T. Pro- kopov (Moscow: Terra, 1997), 15–16. 33. V. A. Nikitin, “Andre Zhid: Vekhi tvorcheskogo puti,” in Andre Zhid. Uzbrannoe, ed. V. A. Nikitin (Moscow: Terra, 1997), 6. 34. John Malmsted and Nikolay Bogomolov, Mikhail Kuzmin: A Life in Art (Cambridge: Harvard University Press, 1999), xii, xiii. 35. Viktor Pelevin, Chisla, Dialektika perekhodnogo perioda iz niotkuda v nikuda [Numbers, The dialectic of a transitional period from nowhere to nowhere] (Moscow: Eksmo, 2004), 144. 36. Elena Baraban, “Obyknovennaia gomofobiia [Everyday homophobia],” Niprikosvennyi zapas 5.19, http://magazines.russ.ru/nz/2001/5 (accessed December 28, 2001). 37. On the prostitute as embodiment of late Soviet and early post-Soviet eco- nomic anxieties, see Katarina Clark, “Not for Sale: The Russian/Soviet Intelligentsia, Prostitution, and the Paradox of Internal Colonization,” Russian Culture in Transition. Selected Papers of the Working Group for 156 notes

the Study of Contemporary Russian Culture, 1990–1991, ed. Gregory Freidin (Stanford: Stanford Department of Slavic Languages and Litera- tures, 1993), 189–205. 38. Catherine Theimer Nepomnyaschny, “Markets, Mirrors, and Mayhem: Aleksandra Marinina and the Rise of the New Russian Detektiv,” in Con- suming Russia: Popular Culture, Sex, and Society since Gorbachev, ed. Adele Marie Barker (Durham, NC: Duke University Press, 1999), 164. The novel Era miloserdiia became the basis for the enormously popular TV movie Mesto vstrechi izmenit’s nel’zia. 39. Russia! “Art: The Degenerates,” Russia! (Winter 2008): 94.

Chapter 1 1. Timothy Brennan, “The Cuts of Language: The East/West of North/ South,” Public Culture 13.1 (2001): 39. 2. Ivan Bloch, Sexual Life in England. Past and Present (Royston: Oracle Publishing, 1938), vii. 3. Ibid. 4. Laura Engelstein, “There Is Sex in Russia—and Always Was: Some Recent Contributions to Russian Erotics,” Slavic Review 51 (1992): 786. 5. Quoted in Igor S. Kon, Seksual’naia kul’tura v Rossii: Klubnichka na berezke (Moscow: OGI, 1997), 354. 6. Ibid. 7. For an understanding of the variety of silences surrounding the issue of (homo)sexual desire, see Kevin Moss’s discussion of the “pervasive sexophobia” in Soviet Russia that kept gay/lesbian writing hidden from Western eyes in Out of the Blue: Russia’s Hidden Gay Literature. An Anthology (San Francisco: Gay Sunshine Press, 1997), 9–12. Soviet cen- sors went so far as to remove references to homosexuality in Russian translations of classical literature (See M. L. Gasparov, “Klassicheskaia filologiia i tsenzura nravov,” Literaturnoe obozrenie 11 (1991): 4–7. In the area of sociological research, Igor Kon notes that “not a single Soviet/Russian sexual survey was ever published in the normal scientific way, with all tables, questionnaires, and methodological discussions” (The Sexual Revolution in Russia, trans. James Riordan [New York: The Free Press, 1995], 275). 8. Donovan Hohn, “An American Werewolf in Russia,” Civilization (October–November 1999): 100. 9. The politics implicit in the discussion of homosexuality in the early Soviet period is spelled out by Martin Bauml Duberman, Martha Vici- nus, and George Chauncey Jr., eds. Hidden from History: Reclaiming a Gay and Lesbian Past (New York: New American Library, 1989), 347: “The widespread belief that the Bolsheviks liberated Russia’s homosexu- als has long been a point of pride for gay leftists and a confirmation of notes 157

the worst fears of those on the right who see an intrinsic and subversive link between communism and homosexuality.” 10. Simon Karlinsky, “Russia’s Gay Literature and History (11th–20th Cen- turies),” Gay Sunshine 29–30 (1977): 5. Among other things, Karlinsky pointed out the failure of Lauritsen and Thorstad to discuss the repres- sive criminal code of 1922 and the reluctance of many gays and lesbians to live openly in the years following the Bolshevik Revolution. However, Karlinsky himself erroneously described the criminal code, which, in fact, made no explicit mention of “homosexual sex” (25–26). 11. Simon Karlinsky, “Russia’s Gay Literature. Part II: Controversy,” Gay Sunshine 31 (1977): 25; John Lauritsen and David Thorstad, “Russia’s Gay Literature. Part II: Controversy, Gay Sunshine 31 (1977): 26. 12. Simon Karlinsky, “Gay Life before the Soviets: Revisionism Revisited,” Advocate (April 1, 1982): 31 (italics mine). 13. Healey, Homosexual Desire in Revolutionary Russia, 3. 14. Igor S. Kon, “Amerikanskaia aspirantka otkryvaet Rossiiu,” http://gay .ru/science/Kon/index.htm (accessed January 17, 2002). 15. Ken Plummer, introduction to Modern Homosexualities: Fragments of Lesbian and Gay Experience, ed. Ken Plummer (London: Routledge, 1992), 17. 16. Olga Lipovskaya, “Sisters or Stepsisters: How Close is Sisterhood?” Women’s Studies International Forum 17 (1994): 273. 17. Larry Wolff, Inventing Eastern Europe: The Map of Civilization on the Mind of the Enlightenment (Stanford: Stanford University Press, 1994), 4. 18. Ibid., 9. 19. Ibid. 20. For a discussion of the applicability of Western models of sequential development to Russia, see Laura Engelstein’s “Combined Underdevel- opment: Discipline and Law in Imperial and Soviet Russia,” American Historical Review (April 1993): 338–53. 21. Healey, Homosexual Desire in Revolutionary Russia, 253. 22. Engelstein, “There is Sex in Russia,” 786. 23. Dennis Altman, The Homosexualization of America: The Americaniza- tion of the Homosexual (New York: St. Martin’s Press, 1982), x. 24. Ibid. 25. This imagined geography, too, has a temporal dimension in Freud’s model of maturation, in which the child develops from a polymorphous sexuality into a sexuality increasingly constrained by social conventions and the work imperative. 26. David Tuller, Cracks in the Iron Closet: Travels in Gay and Lesbian Rus- sia (Boston: Faber and Faber, 1996), 106. 27. Daniel P. Schluter, Gay Life in the Former USSR: Fraternity without Community (New York: Routledge, 2002), 163. 28. Ibid., 240. 158 notes

29. Dimitrina Petrovna, “What Can Women Do to Change the Totalitar- ian Cultural Context?” Women’s Studies International Forum 17 (1994): 267. 30. Stephen F. Cohen, “American Journalism and Russia’s Tragedy,” Nation (October 2, 2000): 24. 31. Ibid., 24. 32. Elizabeth Wolfe, “Gays Gather Quietly, Out of the Political Spotlight,” Moscow Times (March 27, 2001): 10. 33. Schluter, Gay Life in the Former USSR, 6. Tuller writes that the Russian gay scene “resembled the situation in the United States before the emer- gence of a mass gay liberation movement in the 1970s” (Cracks in the Iron Closet, 97–98), and Igor Kon has suggested that it is more like the West in the late nineteenth century (in Schluter, Gay Life in the Former USSR, 9fn). 34. Schluter, Gay Life in the Former USSR, 150. 35. John Boswell, Same-Sex Unions in Premodern Europe (New York: Vil- lard, 1994), between 192 and 193. 36. Ibid. 37. Huseyin Tapinc, “Masculinity, Femininity, and Turkish Male Homo- sexuality,” in Plummer, Modern Homosexualities, 43. 38. Boswell, Same-Sex Unions, xxvi; see Louis J. Luzbetak, Marriage and Family in Caucasia: A Contribution to the Study of North Caucasian Eth- nology and Customary Law (Vienna: St. Gabriel’s Mission Press, 1951). 39. Boswell, Same-Sex Unions, xxiii. 40. Ibid., xix. 41. David Leavitt, introduction to The Penguin Book of International Gay Writing, ed. Mark Mitchell (New York: Penguin, 1995), xv. 42. Ibid., xvii–xviii. 43. Ibid., xvi. 44. Duncan Fallowell, One Hot Summer in St. Petersburg (London: Jona- than Cape, 1994), 3, 165. 45. Ibid., 300. 46. Ibid., 239. 47. Ibid., 247. 48. Ibid., 8. 49. Ibid. 50. Ibid., 251. 51. Ibid., 255. 52. Ibid., 78. 53. Ibid., 85. 54. Ibid., 302. 55. Steve Kokker, “Andrei: A Family Tradition and Denis: Raised on Moth- er’s Milk,” in Military Trade, ed. Steven Zeeland (Binghamton, N. Y.: Haworth Press, 1999), 80. 56. Ibid., 84. notes 159

57. The reviewer for the film Web site www.filethirteen.com noted that “so often the film seems like a documentary put together by Bel Ami or some other East European gay porn outlet,” http://www.filethirteen .com/reviews/komrades/komrades.htm (accessed 11/14/2008). 58. Tuller, Cracks in the Iron Closet, 266. 59. Ibid., 15. 60. Ibid., 61. 61. Ibid., 179. 62. Ibid., 277. 63. Ibid., 177. 64. Ibid., 46, 47. 65. Ibid., 9. 66. Ibid., 262. 67. Ibid., 290. 68. Ibid., 42. 69. White’s comments are printed on the back cover of Cracks in the Iron Closet. 70. Tuller, Cracks in the Iron Closet, 66. 71. Ibid., 42. 72. Frank Browning, A Queer Geography: Journeys toward a Sexual Self, rev. ed. (New York: Noonday, 1998), 4. 73. Browning, introduction to Tuller, Cracks in the Iron Closet, ix. 74. Edward Said, Orientalism (New York: Vintage, 1979), 190. 75. Kon, Sexual Revolution in Russia, 1. 76. Kon, “Amerikanskaia aspirantka otkryvaet Ameriku,” 1. 77. Engelstein, “Combined Underdevelopment,” 344. 78. Although in some circles the English word has been borrowed as kvir, it is unclear that it differs in any significant way from gay. Consider for example the journal Kvir, which is a typical gay popular magazine that in no way challenges the exclusivity of homosexual or heterosexual identities. 79. Laurie Essig, Queer in Russia: A Story of Sex, Self, and the Other (Dur- ham, NC: Duke University Press, 1999), 135, 81. 80. Ibid., 83. 81. Ibid., 38. 82. Ibid., 38. 83. Ibid., 174 (italics mine). Essig’s use of the word “fantasy” calls to mind Stephen O. Murray’s short but important essay, “Mistaking Fan- tasy for Ethnography,” in Ethnographic Studies of Homosexuality, ed. Wayne R. Dynes (New York: Garland, 1992): 353–55 (Repinted from the ARGOH Newsletter), in which he cautions social scientists against mistaking Tobias Schneebaum’s admittedly subjective (1969) account of homosexuality and cannibalism among an Amazonian tribe as an ethnography. 84. Essig, 81. 160 notes

85. Schluter, Gay Life in the Former USSR, 77. 86. Ibid., 109. 87. Ibid., 126. 88. Essig, Queer in Russia, 164. Essig might have gone about breaking down this division by treating the “evidence” she presents in the book as tex- tual, requiring—like fiction—interpretation, analysis, and close reading. Instead, she suggests that such evidence necessarily participates in the “realm of (pseudo)scientific Truth” and so advocates a turn to fiction, suggesting that the introduction of “the screen of fiction” might be “the only way to unveil the private” (164). To support this discursive shift from pseudo-scientific discourse to fiction, she cites Eve Sedgwick, who in her 1986 essay “A Poem is Written” juxtaposes poetry she has herself authored with scholarly analysis of that poetry. Sedgwick, however, has a direct relationship to the topic she is exploring—female sexuality—while Essig does not: she was not raised in Russia. 89. Leo Bersani discusses the dangers of erasing gay and lesbian subjects in queer theory in “The Gay Absence,” chapter two of Homos (Cambridge, MA: Harvard University Press, 1995), 31–76. 90. Tuller, Cracks in the Iron Closet, 10. 91. Neil Miller, In Search of Gay America: Women and Men in a Time of Change (New York: Harper and Row, 1989), 18. 92. Stephen O. Murray, Homosexualities (Chicago: University of Chicago Press, 2000), 1. 93. Kokker, “Andrei: A Family Tradition,” 90. Most recently, the collection, Identity Crisis: 40 Stories Revealing the Personal. Social, and Religious Pain and Trauma of Growing up Gay in America, edited by Mitchell Gold (Austin, TX: Greenleaf Book Group, 2008), reminds readers of the anguish experienced by many gay-identified young people in the United States still today, in a post-Will & Grace world. 94. Marjorie Garber, Bisexuality and the Eroticism of Everyday Life (New York: Routledge, 2000), 21. 95. Camille Paglia, Vamps and Tramps: New Essays (New York: Vintage, 1994), 70. 96. Stacey D’Erasmo, “Polymorphous Normal,” New York Times Magazine (October 14, 2001): 104–7. 97. Lev Klein, Drugaia Liubov’ (Saint Petersburg: Folio Press, 2000), 387. 98. On the incoherence and instability of modern homosexual “identity,” see Eve Kossofsky Sedgwick, Epistemology of the Closet (Berkeley: Uni- versity of California Press, 1990); and David Halperin, “How to Do the History of Male Homosexuality,” GLQ 6:1 (2000): 87–124. 99. Altman, “Global Gaze/Global Gays,” 419. 100. Essig, Queer in Russia, 56. 101. This argument in fact essentializes gay identity, making it independent of social conditions. notes 161

102. For a discussion of the centrality of active and passive sex roles in the articulation of gender and sexual identities in Russia, see Eve Levin, Sex and Society in the World of the Orthodox Slavs, 900–1700 (Ithaca: Cornell University Press, 1989), 199–204; and Healey, Homosexual Desire in Revolutionary Russia, 145–48. 103. In The Homosexualization of America, Altman refers often to “rigid” role-playing (1982, 50, 58, 178), using the kind of modifier employed by Essig and Tuller to refer to gay and straight identities, underscoring the fact that sex roles are not necessarily more fluid. 104. Enikeeva Seksual’naial Patologiia (Moscow: Binum, 1997), 63. 105. Ibid., 63. 106. Ibid. 107. Luc Beaudoin, “Raising a Pink Flag: The Reconstruction of Russian Gay Identity in the Shadow of Russian Nationalism,” in Gender and National Identity in Twentieth-Century Russian Culture, ed. Helena Goscilo and Andrea Lanoux (DeKalb: Northern Illinois University Press, 2006), 229. 108. Olga Zhuk, Russkie amazonki: Istoriia lesbiiskoi subkul’tury v Rossii. XX vek (Moscow: Glagol, 1998), 97. 109. Harlow Robinson, “‘Molchanie—eto smert’, or ‘Keeping Russia Clean’: Recent Development in the Gay and Lesbian Movement in Russia,” in For SK. In Celebration of the Life and Career of Simon Karlinsky, ed. Michael S. Flier and Robert P. Hughes (Oakland, CA: Berkeley Slavic Specialties, 1994), 260. 110. Kokker, “Andrei: A Family Tradition,” 102; Lev Samoilov (Klein), Per- evernutyi mir (St. Petersburg: Farn, 1993), 157. 111. Tuller, Cracks in the Iron Closet, 227. 112. Robinson, “‘Molchanie—eto smert’,” 260. 113. A. A. Zven’evaia, Aktual’nye problemy fenomena gomoseksual’nosti: Raduga nad Rossiei (Moscow: Tsentr Politicheskoi Informatsii, 2006), 7fn. 114. Samoilov (Klein), Perevernutyi mir,143, 204, 218. 115. Ibid., 87. 116. Quoted in Dmitrii Vorontsov, “‘Semeinaia zhizn’—eto ne dlia nas’: Mify i tsennosti muzhskikh gomoseksual’nykh par,” in Semeinye uzly: Modeli dlia sborki, vol. 1, ed. Sergei Ushakin (Moscow: Novoe Literaturnoe Obozrenie, 2004), 592. 117. Ibid. 118. In his book Seksual’naia kul’tura Rossii. Klubnichka na berezke, Kon draws a direct link between homophobia and sexism: “Homophobia is closely connected to sexism, to gender and sexual chauvinism. Its chief socio-historical function is to support the stability of a gender-stratified system, based on male hegemony and domination” (1997, 376). 119. Essig, Queer in Russia, x. 162 notes

120. Tuller, Cracks in the Iron Closet, 159. There are many other examples of Tuller’s reluctance to confront the ways in which sexism constructs (homo)sexual desire in Russia. When someone asks him whether he is active or passive, he writes it off as something “straight people are always interested in” (1996, 218). After taking a test designed to assess the nature of his homosexuality, he remarks: “Many of the word pairs on the test irritated me with their obvious link to gender stereotypes” (226). When the transsexual Oleg spouted traditional sexist views on the right of the husband to “seduce as many women as he could,” Tuller says: “Had a biological male uttered similar statements, I would have found it boorish and offensive; in Oleg’s case, I didn’t. Maybe it was because he was so short, such an unthreatening presence” (163). And although Oleg is a preoperative transsexual, his girlfriend insists he is a man. “I’m not a lesbian,” she declares indignantly (166). 121. Ibid., 237. 122. Kokker, “Andrei: A Family Tradition,” 91. 123. Ibid., 93. 124. Altman, “Rupture or Continuity? The Internationalization of Gay Iden- tities,” Social Text 48 (1996): 80. 125. Hilary Pilkington, introduction to Looking West? Cultural Globalization and Russian Youth Cultures, ed. Hilary Pilkington (University Park: The Pennsylvania State University Press, 1996), 10. 126. Lynn Attwood, “Young People, Sex and Sexual Identity,” in Gender, Generation and Identity in Contemporary Russia, ed. Hilary Pilkington (New York: Routledge, 1996), 95. 127. Ibid., 102. 128. George Chauncey, Gay New York: Gender, Urban Culture and the Making of the Gay Male World 1890–1940 (New York: BasicBooks, 1994), 13. 129. Vladimir Zhirinovskii and Vladimir Iurovitskii, Azuka seksa: Ocherki seksual’noi kul’tury v rynochnom mire (Moscow: Politburo, 1998), 112. 130. Ibid., 19. 131. Ibid., 112 (italics mine). 132. Ibid., 168. 133. This is a fairly common view. The journalist Aleksandr Nikonov declared that the triumph of feminism in the United States had resulted in “a sharp increase in the percentage of homosexuals and a decrease in het- erosexual contacts.” Konets feminizma: Chem zhenshchina otlichaetsia ot cheloveka (St. Petersburg: NTs ENAS, 2008), 100. 134. Ibid., 170. 135. Ibid., 173. 136. Petrovna, “What Can Women Do?” 269. 137. Ibid., 268. 138. Jirina Smejkalova-Strickland, “Do Czech Women Need Feminism?” Women’s Studies International Forum 17 (1994): 281. 139. Ibid., 277. notes 163

Chapter 2

1. Enikeeva, Gei i lesbianki, 143. 2. Igor Kon, Muzhskoe telo v istorii kul’tury (Moscow: Slovo, 2003), 400 3. Anna Rotkirch, “‘What Kind of Sex Can You Talk about?’: Acquiring Sexual Knowledge in Three Soviet Generations,” in On Living through Soviet Russia, ed. Daniel Bertaux, Paul Thompson, and Anna Rotkirch (London and New York: Routledge, 2004), 99. 4. Zven’evaia, Aktual’nye problemy, 7–8. 5. Michel Foucault, The History of Sexuality. Volume I. An Introduction, trans. Robert Hurley (New York: Vintage Books, 1990), 17. 6. Popovskii, Tretii lishnii, 6. 7. Ralph Slovenko, “Homosexuality and the Law,” in Homosexual Behav- ior: A Modern Reappraisal, ed. Judd Marmor (New York: Basic, 1980), 198. 8. Tuller, Cracks in the Iron Closet, 61. 9. Suzanna Danuta Walters, All the Rage. The Story of Gay Visibility in America (Chicago and London: University of Chicago Press, 2000), 12. 10. Enikeeva, Gei i lesbianki, 5. 11. Beaudoin, “Masculine Utopia in Russian Pornography,” in Eros and Por- nography in Russian Culture, ed. Marcus Levitt and Andrei L. Toporkov (Moscow: Ladomir, 1999), 624. 12. Zven’evaia, Aktual’nye problemy, 48. 13. Ibid., 53. 14. S. Repov and A. Fufyrin, “Gei, ne pei,” 2; Ksenofon Prirodnyi, “Kseno- fonshchina nedeli,” Komsomol’skaia Pravda (May 17–24, 2007): 3. 15. Prirodnyi, “Ksenofonshchina,” 3. 16. Robinson, “Molchanie—eto smert’,” 256. 17. Zven’evaia, Aktual’nye problemy, 103–04. 18. Iurii Longo, “Ne dyshite nam v zad,” Andrei 7 (1995): 55. 19. Ibid., 57 (italics mine). The confusion of a minoritizing and a universal- izing model is evident here—why do men need a vaccine unless they are all susceptible to seduction from a homosexual “minority”? This logic also underscores the vulnerability of the post-Soviet (heterosexual) male. 20. Ibid., 57 (italics mine). Interestingly, Larissa Lissyutkina remarks that in contemporary Russia, all men are phantoms: “There are men, but they are ghostly and fictitious” (Lissyutkina, “Soviet Women,” 283). 21. Igor’ Iarkevich, “Kak menia ne iznasilovali,” in Kak ia i kak menia (Moscow: IMA-Press, 1991), 30–31, italics mine. 22. Enikeeva, Gei i lesbianki, 284 (italics mine). 23. Ibid., 281. 24. Nina Sadur, “Nemets,” in Chudesnye znaki. Romany, povest’, rasskazy (Moscow: Vagrius, 2000), 187, italics mine. 164 notes

25. Ibid., 244. 26. Ibid., 206. 27. The notion that sexual desire is more intense and reproduction more successful when gender difference is most pronounced was already been put forward in the early twentieth century by Vasilii Rozanov in People of the Moonlight (1911). This promotion of sexual difference fueled in turn Rozanov’s condemnation of “spiritual homosexuality.” 28. Other images of gender confusion that appear in Sadur’s work include a woman who grows a scrotum in Wonderous Signs of Salvation [Chudesnye znaki spasen’ia, 1997] and legless men who appear in several different works, but most notably on the first page of The Garden [Sad, 1997]. The latter cast envious glances at the men with legs. There are also a few legless men in South [Iug,1997], one of whom is involved in the rape (not overtly presented in the text) of the main character. The characters in Diamond Valley [Almaznaia dolina, 1997] seem to be homosexual, but it is never specifically stated—they’re simply not really interested in the women. 29. Ibid., 205. 30. Ibid., 243. 31. Ibid., 247. One should be cautious about assuming any direct rela- tionship between Sadur’s homophobic narrator and the author herself. Sadur was in fact a staunch supporter of the openly gay writer Evge- nii Kharitonov. See Sadur, “Zhivaia dliashchaiasia zhizn’,” in Slezy na tvetakh. Sochineniia Evgeniia Kharitonova, ed. Iaroslav Mogutin (Mos- cow: Glagol, 1993), 2:148–51. 32. Edelman, Homographesis, 6. 33. Dan Healey, for example, discusses early twentieth-century attempts by Russian forensic scientists to “read” (passive) homosexuality on the body of individuals by measuring the size of the sphincter. This, it was believed, would give the homosexual away. However, the ability of pas- sive homosexuals to control the size of the sphincter muscle through exercise “troubled A. Shvarts” (Healey, Homosexual Desire in Revolu- tionary Russia, 168fn). 34. Edelman, Homographesis, 4. Enikeeva offers a similar psychological interpretation, according to which such humiliation must be violently avenged in order to reestablish one’s masculine standing. This defensive formation is described in the chapter of her book Gays and Lesbians dedicated to “gay murderers,” in which she argues that the experience of homosexual rape—that is, the rape of a heterosexual man by a homo- sexual—is one of the chief factors leading to the creation of homosexual murderers: they must avenge this ultimate humiliation. She writes, “For the second group of ‘gay murderers’—the avengers—there is a slang expression: remodeler [remontnik]. These men, who were raped in a homosexual fashion in places of incarceration, then descended to the lowest and most despised caste, that of roosters [petukhi] or untouchables notes 165

[opushchennye]” (353). Such psychological readings of male humiliation are common in the boeviki, or action thrillers, by Viktor Dontsenko, in which actual physical violation, that is, male-male rape, is a common by- product of the brutal and almost exclusively male world inhabited by the hero Savelii, known as Beshenyi (Mad Dog). See, in particular, Okhoto Beshenogo (Hunting for Mad Dog) and Srok dlia Beshenego (A Sentence for Mad Dog). For more on the meaning of sex in the Russian thriller, see Eliot Borenstein, Overkill: Sex and Violence in Contemporary Russian Popular Culture (Ithaca and London: Cornell University Press, 2008), 159–94. 35. Zhirinovskii and Iurovitskii, Azbuka seksa, 157. 36. Longo, “Ne dyshite nam v zad,” 57. 37. Enikeeva, Gei i lesbianki, 143 (italics mine). 38. Literary analysis of this kind was pioneered by Vasilii Rozanov in People of the Moonlight. In fact, he discusses some of the same literary characters as Kulikova does, and, like her, suggests that an aversion to marriage— and to women in general—points to latent, or what he referred to as spiritual, homosexuality. As evidence, he presents the two eponymous heroes of Gogol’s “How Ivan Ivanovich Quarrelled with Ivan Nikiforo- vich”—also mentioned by Kulikova—as well as various characters from Turgenev, Tolstoy, and Dostoevsky (V. V. Rozanov, Selected Writings, trans. Spencer E. Roberts [New York: Philosophy Library, 1978], 91). He also offers in support of his theory the celibacy of Saint Moses of Hungary. The validity of such analysis and the assumptions on which it is based was supported by Kostia Rotikov in his gay history of Saint Peters- burg, Drugoi Peterburg, published in 1998: “V. V. Rozanov v Liudiakh lunnogo sveta razvival ostroumnuiu i, v sushchnosti, blizkuiu k istine mysl’, chto ideia muzhskogo tselomudriia i vozderzhaniia prinadlezhit gomosek- sualistam [V. V. Rozanov in People of the Moonlight developed the witty idea, which is essentially close to the truth, that the idea of male chas- tity and abstinence belongs to homosexuals]” (Kostia Rotikov, Drugoi Peterburg [St. Petersburg: Liga-Plius,1998], 448). 39. Mariia Cheremisinova, “Goluboi Onegin,” interview by Maiia Kulikova, Ogonek 21. 4696 (May 2001): 44. 40. Ibid. 41. Ibid. 42. Ibid. 43. Ibid., 45. 44. Michel Foucault, Discpline and Punish. The Birth of the Prison, trans. Alan Sheridan (New York: Vintage Books, 1997), 170. 45. Graham Thompson, Male Sexuality under Surveillance. The Office in American Literature (Iowa City: University of Iowa Press, 2003), xv. 46. Sedgwick, Epistemology of the Closet, 185. 47. Laura Mulvey, “Visual Pleasures and Narrative Cinema,” in Visual and Other Pleasures (Bloomington: Indiana University Press, 1989), 19; 166 notes

John Berger, Ways of Seeing (New York: Penguin, 1977), 47. A number of film theorists have attempted to rethink Mulvey’s theories in order to accommodate the female, and in particular the lesbian, film viewer. While Mulvey’s theorization of gender relations in Hollywood films is adequate for my purposes, I agree with Phillip Brian Harper’s comment that “the power dynamic [Mulvey] observes is specific to a heterosexual context. Much could be said about the unique function of the male gaze in homosexual relations” (Framing the Margins. The Social Logic of Post- modern Culture [New York: Oxford University Press, 1994], 202fn.). Later in this chapter, I will explore alternatively gendered visual econo- mies created by homosexual desire. 48. Mulvey, “Visual Pleasures,” 19. 49. Kon, Muzhskoe telo, 400. 50. Polina Dashkova, Nikto ne zaplachet (Moscow: Astrel’, 2002), 87. 51. Ibid. 52. When the film was reviewed or previewed on Russian television, it was invariably the scene of Bunin’s strip search that was shown. It reinforced resentment among many Russians over the West’s humiliating treatment of Russia after its loss of superpower status. 53. For a reading of Hammer and Sickle as a melodramatic staging of male victimhood, see Susan Larsen, “Melodramatic Masculinity, National Identity, and the Stalinist Past in Postsoviet Cinema,” Studies in Twenti- eth Century Literature 24.1 (Winter 2001): 85–120. 54. Michel Foucault, “The Subject and Power,” in Art after Modernism: Rethinking Representation, ed. Brian Wallis (New York: The New Museum of Contemporary Art, 1984), 420. 55. The symbolism of the hammer and sickle, of course, in the context of the film invites a psychological interpretation, for the hammer is associ- ated with action, “world-building,” and Evdokim’s new male identity (his new surname is Kuznetsov, meaning “forger”), while the sickle is associated with his former female identity—it is the woman in the statue who holds the sickle—and with the castration that allowed Evdokiia to become a man. 56. Lilya Kaganovsky, “Men Wanted: Female Masculinity in Sergei Livnev’s Hammer and Sickle,” Slavic and East European Journal 51.2 (Summer 2007), 233. 57. The couple is rewarded with a shiny new car, symbolizing the domes- tication of revolutionary rhetoric in the early 1930s with the policy of normalization. As opportunities for revolutionary masculinity are foreclosed, Evdokim is returned to the domestic realm from which he had escaped. 58. Kaganovsky, “Men Wanted,” 237. 59. Alexander Prokhorov, “‘I Need Some Life-Assertive Character’ or How to Die in the Most Inspiring Pose: Bodies in the Stalinist Museum of Hammer & Sickle,” Studies in Slavic Cultures 1 (2000): 31. notes 167

60. Kaganovsky, “Men Wanted,” 233. 61. For an analysis of the film they are watching, Charlie Chaplin’s City Lights, see Kaganovsky, “Men Wanted,” 239. 62. Aleksei Semenenko, Hamlet the Sign: Russian Translations of Ham- let and Literary Canon Formation (Stockholm: Stockholm University, 2007), 130. 63. Unable to completely erase his past as a woman, Evdokim can be con- sidered homosexual according to the gender model of homosexuality, which defines the homosexual male as a female soul in a man’s body. This is brought home in the emotional climax of the film, when Evdokim confronts his former (male) lover in what appears as a quarrel between ex-lovers. Evdokim’s recriminations are, however, met with a fist in the face. The scene ends with a drunken Evdokim laughing hysterically. His (female) emotions intrude on his new (male) reality in a way that is irrec- oncilable. In this way, the film puts forward a popular post-Soviet inter- pretation of the Soviet past: with his free will and initiative restricted by the centralized state and by absolute loyalty to the leader, the individual male under communism was emasculated. 64. Kaganovsky, “Men Wanted,” 238. 65. Ibid., 245. 66. Other films offer a similar reading of Soviet history but trope the pas- sivity of the Russian male, not through the violation of the gaze but through actual physical violation in the act of male-male rape. In Aleksei German’s 1998 film, Khrustalev, My Car! [Khrustalev, mashinu!], for example, the main character, Dr. Klenskii, is caught up in a Kafkaesque relationship with the security forces of the Soviet Union that marks a “a daring but brilliant attempt to depict the paranoias of late Stalin- ism” (Tony Wood, “The Unfrozen: The Films of Aleksei German,” New Left Review 7 [January–February 2001], http://www.newleftreview .et/?page=article&view=2303 [accessed August 31, 2006]). Implicated in the infamous doctor’s plot, Klenskii sinks deeper and deeper “into untrammelled brutality” (Wood, “The Unfrozen”). His complete loss of agency and personal dignity is represented in the film when he is gang- raped in the back of a van by his fellow prisoners in a scene that is slow and brutally graphic. 67. Kaganovsky, “Men Wanted,” 237. 68. Robert J. Corber, Homosexuality in Cold War America. Resistance and the Crisis of Masculinity (Durham, NC: Duke University Press, 1997), 14. 69. Ibid. 70. This visual anxiety and self-consciousness is brilliantly staged in Rich- ard Greenberg’s play Take Me Out, about a fictional baseball star, Dar- ren Lemming, who publicly announces that he is gay. The narrator, Skippy Sunderstrom, who is the team “intellectual” and Darren’s closest friend, describes the complications this produces in the particular visual 168 notes

economy of the locker room: “Well, look at us now. How we turn from each other. How, when we turn to each other, we maintain eye contact. (Rodriguez and Martinez look away.) Before, this wasn’t necessary. We were men. This meant we could be girlish. We could pat fannies, snap towels; hug. Now . . . , . . . We’ve lost a kind of paradise. We see that we are naked” (Richard Greenberg, Take Me Out [New York: Faber & Faber, 2003], 53–54). 71. Mulvey, “Visual Pleasures,” 18. 72. Fernando F. Croce, “Sokurov’s from Russia with Man-Love,” Cinepas- sion, http://www.cinepassion.org/Archives/FatherSon.html (accessed May 15, 2008). 73. Scott Cranin, review of Sokurov’s Father and Son, Tlavideo, http: //www.tlavideo.com/product/2–0-206997_father-and-son.html?sn= 1 (accessed May 15, 2008). 74. Croce, “Sokurov’s from Russia.” 75. Ibid. 76. Birgit Beumers, review of Sokurov’s Father and Son, Kinokultura (July 18, 2003), http://www.kinokultura.com/reviews/R73fatherson.html (accessed May 15, 2008). 77. Viktor Erofeev, Muzhshchiny (Moscow: Podkova, 1999), 81. 78. A similar effect is produced in Valerii Todorskii’s 1998 film Strana glukhikh [Country of the Deaf], in which a deaf stripper, Yaya (Dina Korzun), befriends Rita (Chulpan Khamatova), who was in danger after being coerced by her boyfriend, Alesha (Nikita Tiunin), to spy on a mafia boss by pretending to be deaf. Yaya takes Rita in, and they form a home together that is safe and supportive. Their arrangement, however, is threatened both by Alesha and by the mafia boss, leading Yaya to imagine a more permanent situation, a mythic land of the deaf, where there will be no men. The dream of escaping society’s judgements is underscored by Yaya’s name, which is a doubling of the Russian first per- son singular pronoun, ia, or “I.” At one point, Rita worries that people will think they’re lesbians, but after a pause both women break into sustained, raucous laughter. Like Bowery’s look, the women’s laughter simply refuses the knowledge produced by the disciplinary gaze, mak- ing the categories of gay and straight appear ridiculous. As one Rus- sian blogger commented, the film portrays “relations between girls we can hardly understand” (“Strana Glukhikh/Country of the Deaf,” Ex-soviet union music, http://ex-soviet.blogspot.com/2005/05/strana -glukhikh-country-of-deaf.html (accessed June 16, 2008). 79. The homo-eroticization of the all-male army milieu appears again in the short story “Autumn of the Pre-Owned” (“Osen’ Be-U,” 1994), but in a more positive light and without the religious thematics. For more on this story, see Vishevsky, “The Other Among Us,” 723–29. notes 169

80. This is a change in point of view from Poliakov’s story, in which the narrator and central character is a senior recruit, Lesha Kupriashin, who stands up to his fellow recruits in defense of Elin. 81. The character of Death in the film takes the place of Tanya, an officer’s wife, who serves as the librarian at the base and who reminds the narra- tor of his girlfriend back home, Lena. This transformation of Tanya into Death is evidence of just how much the film has reworked the realistic subject matter of the story into an almost allegorical morality play. 82. The utterly unselfconscious presentation of women before the gaze is staged in Moscow Parade (Prorva, 1992), when the pregnant Commissar is shown in court completely naked as she asks for the court to condemn the writer to death. Contrast this to the NKVD officer Sania’s appear- ance in the 1939 May Day parade on a mare disguised (with a prosthetic penis) as a stallion. For more on the melodramatic staging of gender in the film, see Susan Larsen, “Melodramatic Masculinity.” 83. This must be read, however, as a gendered displacement insofar as the soldiers’ deaths are most certainly the result of hazing by their fellow soldiers—the theme of Poliakov’s original story. 84. Moreover, the association of the degraded status of the soldier with that of the homosexual is suggested in the Biblical passage that opens the film: “But I am a worm, and no man, a reproach of men, and despised of the people.” 85. Vladimir Makanin, “Captive of the Caucasus,” trans. Arch Tait, in Cap- tives. Contemporary Russian Stories, ed. Natasha Perova and Joanne Turnbull (Moscow: Glas, 2005), 3. 86. Helena Goscilo, “Casting and Recasting the Caucasian Captive,” in “Pushkin’s Secret”: Russian Writers Reread and Rewrite Pushkin, vol. 1 of Two Hundred Years of Pushkin, ed. Joe Andrew and Robert Reid (Amsterdam: Rodopi, 2003), 199. 87. Makanin, Captive of the Caucasus, 28. 88. Ibid., 30. 89. Ibid., 31. 90. Ibid., 25. 91. Ibid., 31 (italics mine). 92. This confusion of power relations runs throughout the story. For exam- ple, near the beginning of the story the Russian commander and his Chechen counterpart, Alibekov, are negotiating an exchange of arms for food. The Russians will return arms confiscated from guerilla sol- diers in return for badly needed food supplies, insuring that the military stalemate will go on indefinitely. At one point, while negotiating with Alibekov, the Russian commander tells him that the former is in effect his prisoner, to which Alibekov laughs and says, “You’re kidding, Petro- vich. I’m no prisoner—it’s you who’s the prisoner.” 93. Goscilo, “Casting and Recasting,” 201. 94. Ibid., 49–50. 170 notes

Chapter 3 1. Edelman, Homographesis, 7. 2. Samoilov [Klein], Perevernutyi mir, 7. 3. In the few letters in which homosexuality was mentioned, it was in the context of Soviet prisons and the army, where homosexuality reflects brutal social hierarchies. There, homosexuals are “made” not born. 4. Kevin Moss, “The Underground Closet: Political and Sexual Dissidence in East European Culture,” in Post-Communism and the Body Politic, Genders 22, ed. Ellen E. Berry (New York: New York University Press, 1995), 229. 5. D. A. Miller, The Novel and the Police (Berkeley: University of California Press, 1998), 206. 6. As Toporov puts it, “[Klein], of course, lied about everything, about prison and about his release, but, frothing at the mouth, he attempted to prove that he was right. ‘Get rid of that rotten faggot [gnoinogo pidera],’ I advised Boria Davydov [the editor of Neva]” (Viktor Toporov, Dvoinoe dno: Priznaniia skandalista[Moscow: Zakharov/Act, 1999], 304). 7. Lev Klein, Drugaia liubov’ (St. Petersburg: Folio Press, 2000), 16. 8. Alan Sinfeld, The Wilde Century: Effeminacy, Oscar Wilde and the Queer Moment (New York: Columbia University Press, 1994), 9. 9. Eliot Borenstein, “Slavophilia: The Incitement to Russian Sexual Dis- course,” Slavic and East European Journal 40.1 (Spring 1996), 143. 10. Vishevsky, “The Other among Us,” 723. 11. Eve Sedgwick, Epistemology of the Closet, 185. 12. Ibid. 13. Eve Kosofsky Sedgwick, Between Men. English Literature and Male Homosocial Desire (New York: Columbia University Press, 1985), 89. 14. Miller, The Novel and the Police, viii-ix. 15. Anthony Olcott, Russian Pulp: The Detektiv and the Way of Russian Crime (Lanham, MD: Rowman and Littlefield Publishers, 2001), 13. 16. Practitioners of psychoanalysis, such as Slavoj Žižek and Renata Salecl, have pointed to a “cynical distance from the ruling ideology that enabled the average Soviet citizen to ‘stay sane’” (Renata Salecl, The Spoils of Freedom. Psychoanalysis and Feminism after the Fall of Socialism [London and New York: Routledge, 1994], 109). Panic, as a thoroughly interi- orized experience, however, would suggest the collapse of that cynical distance and the emergence of a new post-Soviet subjectivity. 17. Olcott, Russian Pulp, 109. For more on late Soviet crime fiction, see Serguei Oushakine, “Crimes of Substitution: Detection in Late Soviet Society,” Public Culture 15.3 (2003): 426–51. 18. Olcott comments that “the corpses pile up so quickly in most of the new detektivy that one could begin to suspect authors are paid by the body. Serial killers are a popular genre topic” (Russian Pulp, 19). See also Renata Salecl’s analysis of media coverage of the Chikitilo case as notes 171

evidence of the depoliticization of crime during perestroika (Salecl, The Spoils of Freedom, 99–111). 19. A good example of this can be found in Dar’ia Dontsova’s detective novel, Krutye naslednichki, in which the murderess is discovered to be, despite appearances to the contrary, “a person with a sick psyche [s bol’noi psikhikoi],” whose motivations are not political or economic; they are vaguely oedipal: “Seven years ago Lisa MacMayer decided to kill her loved ones [rodnykh]. The reason was weighty—she hated them. She hated Susanne because she loved [her brother] Jean more than anyone in the world. Jean, because Susanne loved him, despite all the ugliness he created. Eduard, because he wasn’t her father” (Dar’ia Dontsova, Krutye naslednichki [Moscow: Eksmo, 2003], 269, 277). In fact, one of the central questions of the plot is: Who is the real father of these children? 20. Anthony Easthope comments: “There is no shortage of objections to psychoanalysis, and one of the main ones is that it ignores history. Psy- choanalysis tends to regard human beings as though they are the same everywhere and always were” (Anthony Easthope, What’s a Man Gotta Do? The Masculine Myth in Popular Culture [New York: Routledge, 1990], 4). 21. Anatoly Vishevsky, “Answers to Eternal Questions in Soft Cover: Post- Soviet Detective Stories,” Slavic and East European Journal 45.4 (Win- ter 2001): 733. 22. Aleksandra Marinina, Stilist (Moscow: Eksmo, 2002); Boris Akunin, Koronatsiia (Moscow: Zakharov, 2000).These two novels are especially illustrative of post-Soviet crime fiction and the reorganization of the public and private spheres in post-Soviet culture. The Stylist, in which a professional police investigation puts the heroine, Nastia Kamenskaia, into contact with a former lover, resulting in the dangerous blurring of her private and professional identities, is referred to repeatedly by Nepomnyashchy, Olcott, and Vishevsky in their discussions of the detek- tiv. Similarly, in Coronation, the model of the patriarchal family is used to connect a private drama (the kidnapping of a Grand Duke’s son) with a public drama: the fall of the house of Romanov. 23. Nepomnyashchy makes this argument concerning gender issues in Marinina’s novels in “Markets, Mirrors, and Mayhem,” 173. 24. Ibid., 178. 25. On gender/sexual anxiety in fin-de-siècle Russian society, see Laura Engelstein, The Keys to Happiness: Sex and the Search for Modernity in Fin-de-siècle Russia (Ithaca and London, 1992). On the topic of gender/ sexual anxiety in the post-Soviet period, see: Kon, Seksual’naia kul’tura v Rossii, especially chapters eight and nine; Hilary Pilkington, ed., Gen- der, Generation and Identity in Contemporary Russia (London and New York: Routledge, 1996); Larsen, “Melodramatic Masculinity”; Lesley Rimmel, “Commentary: Pornography in Russia Today: Men’s Anxieties, 172 notes

Women’s Silences,” in Eros and Pornography in Russian Culture, ed. M. Levitt and A. Toporkov (Moscow: Ladomir, 1999): 639–42. 26. Sedgwick, Between Men, 25. 27. On the homosexual as a symbol of social decadence, see Elaine Show- alter, “Decadence, Homosexuality, and Feminism,” in Sexual Anarchy. Gender and Culture at the Fin de Siècle (New York, 2000), 169–87. 28. Akunin, Koronatsiia, 31. 29. Ibid., 145. 30. Ibid., 43. 31. Ibid., 295. 32. Ibid., 46. 33. Ibid. 34. Ibid., 70–71. 35. Ibid., 75. 36. Ibid., 76. 37. Ibid., 22. 38. Ibid., 144. 39. Ibid., 182. 40. Ibid., 345. 41. Ibid., 236. 42. Ibid., 272. 43. Gender and sexual deviance are associated with crime in several of Marinina’s novels, in particular Svetlyi lik smerti (The Bright Face of Death), the villain of which is a cross-dressing murderer; Smert’ radi smerti (Death for the Sake of Death), which features a lesbian; and Ne meshaite palachu (Don’t Bother the Executioner), which describes a male-male rape. 44. Marinina, Stilist, 230. 45. Ibid., 31 (italics mine). 46. Ibid., 84. 47. Many of the most insightful critical works dealing with gender issues in the novels of A. Marinina stress the vulnerability of the female detective and her functional equivalence to the crime victim. See, for example, Nepomnyashchy, “Markets, Mirrors, and Mayhem”; Elena Trofima, “Fenomen detektivnykh romanov Aleksandry Marininy v kul’tury sovre- mennoi Rossii,” in Tvorchestvo Aleksandry Marininoi kak otrazhenie sovremennoi rossiiskoi mental’nost’, ed. E. I. Trofimova (Moscow, 2002), 19–35; Galina Ponomareva, “Zhenshchina kak ‘granitsa’ v proizvedeni- iakh Aleksandry Marininoi,” in Pol, gender, kul’tura, ed. Elizabeth Shore and Karoline Haider (Moscow, 1999): 181–92. The Stylist, on the other hand, explores the vulnerability of Russian men. 48. Ibid., 25. 49. Ibid., 20. 50. Ibid., 22. 51. Ibid., 38. notes 173

52. Ibid., 168, 148. 53. Ibid., 140. 54. Here Akunin incorrectly distinguishes between the word tapetka, which he uses to refer to female-identified homosexuals, and tetka, which he uses to refer to male-identified homosexuals. However, both tapetka and tetka refer to effeminate, female-identified homosexual men. The absence of a specific term for male-identified homosexuals suggests the fact that they were not generally considered to be homosexual at all. It was at that time only effeminate, passive men who were stigmatized as homosexual. 55. Marinina, Stilist, 82. 56. Ibid., 422. 57. This is typical of many of Akunin’s novels in the Fandorin series. A sin- gle woman finds herself amid a group of competing and competitive men, so that male interest in the woman appears as a function of male rivalry. Varvara in Turetskii gambit (Moscow: Zakharov, 2000) is a good example. 58. Marinina, Stilist, 391. 59. Ibid., 353. 60. Ibid., 183. 61. Ibid., 444. 62. Ibid., 388. 63. Ibid., 246. 64. Ibid., 266. 65. Ibid., 276. 66. Ibid., 374. 67. Ibid., 376. 68. Ibid., 377. 69. Ibid., 54. 70. Ibid. 71. Ibid., 49. 72. Ibid., 24. 73. Ibid., 369. 74. For the range of meanings of gouboi, see note 9 of this chapter. 75. Ibid., 438. 76. Ibid., 440. Italics mine. 77. Ibid., 441. 78. Ibid., 442. 79. Ibid. 80. Nepomnyashchy argues that at least part of the popularity of the detective stories is due to their ability to simultaneously “express and neutralize” the fears and anxieties of a society (“Markets, Mirrors, and Mayhem,” 173). 81. Sedgwick, Epistemology of the Closet, 185). 82. Ibid., 93. 174 notes

83. Ibid., 249. 84. Ibid., 246. 85. Ibid., 93. 86. Ibid., 95. 87. Ibid. 88. Ibid., 5, 47, 149. 89. Ibid., 253. 90. Ibid., 86. 91. Ibid., 89. 92. Ibid., 124. 93. Ibid., 151. The orphaned Fandorin also experiences a similar emotional, indeed physical, reaction to seeing his mentor/father figure Brilling in Azazel’ (2000, 83). While Fandorin’s reaction is less sexualized than Ziukin’s, it is ambivalent (priatno-trevozhnoe) and physical (shchekata- nie), underscoring the intensity of their homosocial bonds and their proximity to the (homo)sexual. 94. Ibid., 151. 95. Ibid., 259. 96. Ibid., 198. 97. Akunin in fact describes an incident of homosexual blackmail in Turetskii gambit (Moscow: Zakharov, 2000). Evidence of a homosexual relation- ship is used to frame Colonel Kazanzaki, which, in the words of the general is “a story as old as the world” (131). 98. Ibid., 210. 99. Ibid., 214. 100. The navy has long been a site of homosexual fantasies. 101. Akunin, Koronatsiia, 202–3. 102. Ibid., 386. 103. Ibid., 234. 104. Olena Omel’chenko and Moya Flynn noted in their study of contempo- rary Russian youth cultures a tendency to describe America as “dirty.” “The ‘dirt’ referred to here,” they remarked, “is spiritual or moral rather than physical in nature, and this reassessment was a product not only of increasing travel to the West by young people but also a consequence of the arrival of low-grade American movies in Russia” (“Through their Own Eyes,” 92). 105. While the male characters in The Stylist find no peace, Kamenskaia herself makes a gesture toward traditional gender roles at the end of the novel. Exhausted by the investigation, she cries and then offers to make her male colleague a cup of tea. 106. Ibid., 348. It is unclear whether he is mourning here the loss of Mlle. Declique or of Fandorin. In any case, it is at precisely this moment that he recalls Endlung’s suggestion that he join the navy. notes 175

107. Helena Goscilo, “Style and S(t)imulation: Popular Magazines, or the Aesthetization of Postsoviet Russia,” Studies in Twentieth Century Lit- erature 24.1 (Winter 2000), 27. 108. Zhirinovskii and Iurovitskii, Azbuka seksa, 108. 109. Aleksei Sidorov, dir., Brigada, episode 8 (2003). 110. The construction of homosexuality as a “radical rupture” on the contin- uum of male-male relations is, Eve Sedgwick argues, an essential feature of the modern construction of masculinity (Epistemology of the Closet, 184).

Chapter 4 1. Dale E. Peterson, “Justifying the Margin: The Construction of ‘Soul’ in Russian and African-American Texts,” Slavic Review 51.4 (Winter 1992), 749. 2. Kornei Chukovskii, “Oskar Uail’d. Etiud,” in Polnoe sobranie sochine- nii Oskara Uailda, vol. 1 (St. Petersburg: A. F. Marks, 1912), xxxiii. Quoted in N. Pal’tseva, Introduction to Oscar Wilde. Izbrannye proiz- vedeniia v dvukh tomakh, ed. N. Pal’tseva (Moscow: Respublica, 1993), 15. 3. Evgenii Bershtein, “The Russian Myth of Oscar Wilde,” in Self and Story in Russian History, ed. Laura Engelstein and Stephanie Sandler (Ithaca: Cornell University Press, 2000), 180–81. 4. Nikolai Abramovich, Religiia krasoty i stradaniia: O. Ual’d i Dostoevskii (St. Petersburg: Losev, 1909), 83. Quoted in M. Trostnikov, Poetologiia (Moscow: Graal’, 1997), 57fn. 5. Aleksandr Blok, introduction to Mikhail Kuzmin. Lirika (Minsk: Khar- vest, 1998), 4–5. 6. Ibid., 6; 12. 7. Yevgeny Kharitonov, “In the Cold Higher Sense,” in Under House Arrest, trans. Arch Tait (London: Serpent’s Tail, 1998), 195–96. 8. On the popularity of Wilde in post-Soviet Russia, Aleksei Zverev com- ments, “In recent years Wilde has been published so completely that one might recall the four volume attachment to [the journal] Niva done by K. Chukovskii—it was for many decades the object of bibliophiles’ dreams. There is now the two-volume edition by Republika” (1993), the three-volume Terra edition (2000), as well as almost two dozen reprints under the title ‘Selections.’ There is the novel by Peter Ackroyd, The Last Testament of Oscar Wilde, that incited interest and arguments and that, in addition to the journal version, came out in Russian in two editions. Finally, there is the book by the French author Jacques de Langlade, Oscar Wilde, ou la verité des masques, which in 1999 was added to the series ZhZL [The Life of Famous People]” (“Uail’d: ‘Naslazhde- nie stikhiinost’iu,” review of the Russian edition of Richard Ellman, Oscar 176 notes

Wilde. A Biography [Moscow: Nezavisimaia gazeta, 2000], in Novoe Literaturnoe Obozrenie 46 [2000]: 373). Since then, A. G. Obraztso- va’s study of Wilde’s dramas appeared, Volshevnik ili shut? Teatr Oskara Uail’da (St. Petersburg: Dmitrii Bulanin, 2001). 9. Evgeniia Lavut, “Neizvestnyi Oskar Uail’d,” Knizhnoe Obozrenie ‘Ex Libris NG’ 15 (17 September, 1997), 5. 10. Foucault, History of Sexuality, 43. 11. Bershtein, “The Myth of Oscar Wilde,” 169. 12. Rozanov’s interpretation of Russian culture as marked by a latent homo- sexuality, although surprising to some, was perhaps inevitable. Russians, such as Dostoevsky and Berdyaev among others, had long associated their culture with feminine qualities of spirituality and passivity—both to defend it and to critique it—in opposition to what was seen as the more masculine qualities of the capitalist West: activity, enterprise, and competition. Therefore, when the modern idea of the homosexual as gender invert (i.e., a woman’s soul in a man’s body) became popular, it was perhaps only a matter of time before someone would interpret a feminine culture produced overwhelmingly by men as symptomatic of homosexuality, at least metaphorically. 13. Rozanov, however, may not have invented the term. Prince Meshch- erskii, the archconservative owner of the journal The Citizen [Grazh- danin] in the second half of the nineteenth century, referred to his young male lovers whose careers he actively promoted as his “spiritual sons” [dukhovnye synov’ia] (Susanne Fusso, Discovering Sexuality in Dos- toevsky, Studies in Russian Literature and Theory (Evanston: Northwest- ern University Press, 2006, 45). 14. Rozanov, People of the Moonlight, 141. 15. Ibid., 141. 16. Ibid., 89. 17. Ibid., 194. 18. Hilary Pilkington, introduction to Looking West? Cultural Globaliza- tion and Russian Youth Cultures, ed. Hilary Pilkington (University Park: Pennsylvania State University Press, 2002), xiv. 19. Wierzbicka, Semantics, Culture and Cognition, 41. 20. Robert C. Williams, “The Russian Soul: A Study in European Thought and Non-European Nationalism,” Journal of the History of Ideas 31.4 (October–December 1970), 573. 21. Lesley Chamberlain, “A Suffering People,” Times Literary Supplement (December 22, 1995), 11. 22. Dale Pesman, Russia and Soul: An Exploration (Ithaca: Cornell Univer- sity Press, 2000), 6. 23. Ibid., 4. 24. Ibid., 9. notes 177

25. Nina Sadur, “Zhivaia dliashchaiasia zhizn’,” in Dopolneniia i prilozhe- niia, vol. 2 of Evgenii Kharitonov. Slezy na tsvetakh of (Moscow: Glagol, 1993), 150. 26. Fyodor Dostoevsky, A Writer’s Diary, trans. Kenneth Lantz, vol. 1, 1873–1876 (Evanston: Northwestern University Press, 1993), 161. Quoted in Pesman, Russia and Soul, 40; Reis, Russian Talk, 83; Ran- cour-Laferriere, The Slave Soul of Russia. Moral Masochism and the Cult of Suffering (New York: New York University Press, 1995), 2–3. 27. Quoted in Williams, “The Russian Soul,” 50. 28. Chamberlain, “A Suffering People,” 11. 29. Pesman, Russia and Soul, 56. 30. Gennady Trifonov, “Open Letter to Literaturnaya Gazeta,” trans. Kevin Moss, in Out of the Blue. Russia’s Hidden Gay Literature. An Anthology, ed. Kevin Moss (San Francisco: Gay Sunshine Press, 1997), 232), 31. Grigorii Chkhartishvili, Pisatel’ i samoubiistvo (Moscow: Novoe Liter- aturnoe Obozrenie, 1999), 356. 32. Ibid. 33. Vasilii Aksyonov, Generations of Winter, trans. John Glad and Christo- pher Morris (New York: Vintage, 1995), 135, 138, 157. 34. Toska, or longing, often vague and unspecified, is central to the experi- ence of soul. As Marina Tsvetaeva put it in regard to her ten-year-old son, Mur: “Least of all is he developed spiritually [dushevno]: he is a stranger to yearning [toska], he simply doesn’t understand it” (quoted in Wierzbicka, Semantics, Culture and Cognition, 50). 35. Dmitrii Bushuev, Na kogo pokhozh arlekin (Tver: Kolonna, 1997), 89; 141; 187. 36. Aleksandr Il’ianin, I Finn (Tver: Kolonna, 1997), 12. 37. Ibid., 115. 38. Ibid., 96. 39. Ibid., 14. 40. Ibid., 106. 41. Pesman, Russia and Soul, 78. 42. Valerii Chukhno, “Ispoved’ dushi,” afterward in Oskar Vaild. De Pro- fundis (Moscow: Eksmo, 2003), 462. 43. Nikita Ivanov, Unpublished Report to the Board of ILGA-Europe (Sub- mitted November 14, 2000), 3. 44. Vasilii Aksenov, “V raione ploshchadi Diupon,” Negativ polozhital’nogo geroia. Rasskazy (Moscow: Vagrius, 1996), 264. 45. Chukhno, “Ispoved’ dushi,” 10. 46. Ekaterina Kovaleva, Moi goluboi drug. Drama v piati deistviiakh, index .org.ru/turma/tz/021127ek.htm?p (accessed October 30, 2003), 4; Bushuev, Na kogo pokhozh arlekin, 287. The main character of Kovaleva’s play fits many of the gender stereotypes associated with homosexuality; he is pretty like a girl: “Tvoia krasota sovsem ne muzhskaia [Your beauty isn’t at all masculine]” (Kovaleva, Moi goluboi drug, 5). 178 notes

47. Chkhartishvili, Pisatel’ i samoubiistvo, 356. 48. Liudmila Ulitskaia, “Golubchik,” in Veselyi pokhorony (Moscow: Vagrius, 2001), 289. 49. Nikolai Kolyada, Slingshot [play], trans. Susan Larsen, in Out of the Blue. Russia’s Hidden Gay Literature. An Anthology, ed. Kevin Moss (San Francisco: Gay Sunshine Press, 1997), 310. 50. Vitaly Yasinsky, “A Sunny Day at the Seaside,” trans. Anthony Vanchu, in Out of the Blue. Russia’s Hidden Gay Literature. An Anthology, ed. Kevin Moss (San Francisco: Gay Sunshine Press, 1997), 381. 51. Zhirinovskii and Iurovitskii, Azbuka seksa, 111. 52. Nina Berberova, Chaikovskii (St Petersburg: Limbus Press, 1997), 256. 53. Richard Taruskin, “Pathetic Symphonist. Chaikovsky, Russian, Sexuality and the Study of Music,” The New Republic (6 Feb 1995), 39. 54. Zhirinovskii and Iurovitskii, Azbuka seksa, 111. 55. Alexander Poznansky, “Tchaikovsky as Communist Icon,” in For SK. In Celebration of the Life and Career of Simon Karlinsky, ed. Michael S. Flier and Robert P. Hughes (Berkeley: University of California Press, 1994), 242. This interpretation was also put forward by the French writer Dominque Fernandez in the novel Tribunal d’honneur [Tribunal of Honor] (Grasset: Paris, 1996). 56. Eifman Ballet of St. Petersburg, theater program to Tchaikovsky. The Mystery of Life and Death (Cleveland: State Theater, April 22–23, 2003), 28. 57. Ibid., 29. 58. Wierzbicka, Semantics, Culture and Cognition, 51. 59. Birgit Beumers, “The ‘Blue’ Stage: Homosexuality in Russian Theatre and Drama of the 1990s,” Gender and Sexuality in Russian Civilization, ed. Peter I. Barta (London: Routledge, 2001), 307. 60. Kolyada, Slingshot, 318. 61. Eifman Ballet, Tchaikovsky, 22. 62. Longo, “Ne dyshite nam v zad,” 57. 63. Dimitri Bushuev “The night will burst with hail, and the rain,” trans. Vitaly Chernetsky, Out of the Blue. Russia’s Hidden Gay Literature. An Anthology, ed. Kevin Moss (San Francisco: Gay Sunshine Press, 1997), 401. 64. Bushuev, Na kogo pokhozh arlekin, 89. 65. Iaroslav Mogutin, “Katorzhnik na nive bukvy,” introduction to Pod domashnim arestom, vol. 1 of Evgenii Kharitonov. Slezy na tsvetakh (Moscow: Glagol, 1993), 13. 66. Along the same lines, although in a far less celebratory tone, Maia Kulikova, a psychology graduate student at MGU, argued in an article in Ogonek in 2001 that virtually all the heroes of the nineteenth-century Russian literary canon were latent homosexuals insofar as they exhibit a number of unmanly traits. For more on this, see chapter 2. notes 179

67. Wierzbicka, Semantics, Culture and Cognition, 189; Daniel Rancour- Laferriere, The Slave Soul of Russia, 66. 68. Ibid., 191. 69. Mogutin, “Katorzhnik na nive bukvy,” 10. 70. Nikolai Klimontovich, “Uedinennoe slovo,” in Dopolneniia i prilozhe- niia, vol. 2 of Evgenii Kharitonov. Slezy na tsvetakh (Moscow: Glagol, 1993), 114, 115. 71. Ibid., 114. For a discussion of the influence of Rozanov on interpreta- tions of Kharitonov and his work, see Chernetsky, Mapping Postcommu- nist Cultures, 154–56. 72. “K,” letter with commentary in Literaturnaia Gazeta 13.5235 (March 29, 1989): 11. 73. Ibid. 74. Kovaleva, Moi goluboi drug, 15. 75. Ibid., 9. 76. Ibid., 8. 77. Ibid., 15. 78. Ibid. 79. Kolyada, Slingshot, 327. 80. The numbers three and thirteen. 81. Susan Larsen, preface to Slingshot, in Out of the Blue. Russia’s Hidden Gay Literature. An Anthology, ed. Kevin Moss (San Francisco: Gay Sun- shine Press, 1997), 308. 82. Kolyada, Slingshot, 332. 83. Larsen, preface to Slingshot, 308. 84. Bushuev, Na kogo pokhozh arlekin, 335. 85. Ibid., 395. 86. Il’ianen, I Finn, 103. 87. Marinina, Stilist, 209. 88. Ibid., 168. 89. Bruce Bawer, A Place at the Table: The Gay Individual in American Society (New York: Simon and Schuster, 1994). 90. Nancy Ries, Russian Talk: Culture and Conversation During Perestroika (Ithaca: Cornell University Press, 1997), 83. 91. Oleg Moroz, “Otverzhennye,” Ogonek 16 (April 1990): 28. 92. Alexander Voronin, Letter to the Editor of 1/10, in Out of the Blue. Russia’s Hidden Gay Literature. An Anthology, ed. Kevin Moss (San Francisco: Gay Sunshine Press, 1997), 253). 93. Bushuev, “Ot avtora,” in Na kogo pokhozh arlekin (Tver: Kolonna, 1997), 14–15. 94. Bushuev, Na kogo pokhozh arlekin, 295. 95. Ibid., 30. 96. Ibid., 397 97. In the scene 2 of the play, we learn that Ilya had played on the compas- sion of his fellow Russians by posing as an Afghan war veteran. It was a 180 notes

very successful ruse: “People give me a lot, they feel sorry. They think—I was in Afghanistan” (Kolyada, Slingshot, 316). 98. Ibid., 324. 99. Ibid., 333. 100. In this short story, which opens with a citation from Dostoevsky, “Beauty will save the world,” beauty is presented in spiritual terms, and Rubakh- in’s encounter with beauty in Chechnya, both in the landscape and in his young male prisoner, wreaks profound changes in the simple soldier’s soul. 101. Makanin, “The Captive of the Caucasus,” 33. 102. Ibid., 34 103. Ibid., 36. 104. Ibid. 105. Ibid., 37. 106. Ibid., 38. 107. Pesman, Russia and Soul, 4. 108. Dale Pesman, “Tropes of Depth and the Russian Soul: Openings and Closings in Post-Soviet Siberia,” in Altering States: Ethnographies of Transition in Eastern Europe and the Former Soviet Union, ed. D. Ber- dahl, M. Bunzl, and M. Lampland (Ann Arbor: University of Michigan Press, 2000), 183. 109. Kolyada, Slingshot, 322. 110. Bushuev, Na kogo pokhozh arlekin, 186. 111. Konstantin Pleshakov, “Bogatyi siuzhet,” Novyi Zhurnal (June 1994), 39. 112. Ibid., 39. 113. Ibid., 41. 114. Ibid. 115. Ibid., 42. 116. Aksenov, “V raione ploshchadi Diupon,” 264. 117. Zhenia’s doe eyes link him to the tragic figure of Otari in Moskovskaia saga. 118. Ibid., 258. 119. Ibid., 294. 120. Ibid., 297. 121. Ibid., 299. 122. Ibid., 269. 123. Ibid. The translation is taken from “Around Dupont,” trans. Alla Zbinovsky, in Out of the Blue. Russia’s Hidden Gay Literature. An Anthology, ed. Kevin Moss, San Francisco: Gay Sunshine Press, 300. All other translations from the story are mine. Incidentally, the dog’s name, which is “either Mikhail or Kuz’ma,” is certainly a veiled reference to Mikhail Kuzmin, the openly gay Silver Age poet known as the Russian Oscar Wilde, whom Zhenia and his gay friends worshipped while still in notes 181

Russia—a symbol of the refined expression of their elite homosexuality while in the land of the Soviets. 124. Yaroslav Mogutin, “Fuck the Elite,” interview by Bill Andriette, The Guide 19.11 (November 1999), 17. 125. Zhirinovskii and Iurovitskii, Azbuka seksa, 168. Ironically, by associat- ing Western homosexuals with political activism the authors unwittingly reinforce the traditional cultural opposition that defines Russia as pas- sive, sensitive and soulful in the face of a West defined as active, materi- alistic and industrious. 126. Evgenii Vitkovskii, introduction to Oskar Uail’d. Polnoe sobranie stikho- tvorenii i poem (St. Petersburg: Evraziia, 2000), 9. 127. Kon, Muzhskoe telo, 297. This conflation of the secrecy of the closet with the mystery of art is also evident in Evgenii Popov’s suggestion that Evgenii Kharitonov’s open discussion of homosexuality in his literary works has an adverse effect on the “MYSTERY OF ART” (“Kus ne po zubam,” in Evgenii Kharitonov. Dopolneniia i prilozheniia, vol. 2 of Slezy na tsvetakh (Moscow: Glagol, 1993), 104. 128. Mogutin, “Fuck the Elite,” 17. 129. Goscilo, “Casting and Recasting the Caucasian Native,” 199. 130. Boris Moiseev, Ptichka. Zhivoi zvuk (Moscow: ACT; Astrel’, 2007), 285. 131. For more on the representation of homosexuality in Kuzmin’s novel, see Frantz Schindler, “Otrazhenie gomoseksual’nogo opyta v Kryl’iakh M. Kuzmina,” in Amour et érotisme dans la littérature russe du XX siècle, ed. Leonid Heller (Bern: Peter Lang, 1992), 57–63. 132. Engelstein, The Keys to Happiness, 390. 133. In Wings, Kuzmin associates vulgar passion and materialism with two lower class Russian boys, the valet and another boy whom Vania over- hears explaining how he earns extra money by performing sexual favors in the bathhouse. The lofty, aestheticized love of Vania and Shtrup is associated with cosmopolitanism (among other things, Shtrup is part English) on the one hand and classical Greek culture on the other. It is interesting to note in a discussion of sex in Wings that Kuzmin took the name of his hero, Vania Smurov, from one of the boys in Dostoevsky’s novel The Brothers Karamazov (John Malmstad, “Bathhouses, Hustlers, and a Sex Club: The Reception of Mikhail Kuzmin’s Wings,” Journal of the History of Sexuality 9.1–2 [January/April 2000]: 85–104). 134. Ulitskaia, “Golubchik,” 296. 135. Ibid. 136. Ibid., 304. 137. For many Russians raised in the sexophobic climate of Soviet society, it is sex rather than homosexuality per se that stands in opposition to spirituality. As one anonymous contributor wrote in to the gay journal 1/10: “In satisfying their flesh, they destroy their spiritual principle, their spiritual nature, their reason, their spirit, their intellect, their fate, their 182 notes

life, their health—everything” (Out of the Blue, 252). To the extent that the global gay is a thoroughly sexualized being, he threatens the isolated and repressed homosexual of yore, whose unhappiness and sexual isola- tion granted him a thoroughly Russian soul. 138. Ulitskaia, “Golubchik,” 299. 139. Ibid., 302. 140. Ibid. 141. Interestingly, Nikolai Klimontovich saw a direct link between the writ- er’s Christianity and his homosexuality (“Uedinennoe slovo,” 115) and writes that, “In his intense life, in his appearance, in his relations with people, there were indisputable features/signs of saintliness, signs that he was select” (116). 142. Nikolai Berdyaev, The Russian Idea (Boston: Beacon Press, 1962), 78. 143. Andrei Sinyavsky, Soviet Civilization. A Cultural History, trans. Joanne Turnbull (New York: Arcade Publishing, 1988), 261. Partially quoted in Pesman, Russia and Soul, 168. 144. Berdyaev, The Russian Idea, 87.

Chapter 5 1. Boris Tukh, Pervaia desiatka sovremennoi russkoi literatury (Moscow: Oniks 21 vek, 2002), 278 2. Mikhail Zolotonosov, “Kniga o ‘golubom Peterburge’ kak fenomen sovremennoi kul’tury,” Novyi mir 5 (1999): 187. 3. “Zabytyi v nashe malokul’turnoe vremia blesk izlozheniia, artisticheskoe ozorstvo, mistifikatsii. Maski, tantsuiushchii iazyk, sploshnoe erotiches- koe blanmanzhe. Na fone etoi prelestnoi fantazii na erotichesko- kraevedcheskuiu temu beznadezhno merknut grubo-soldatskie i neukliuzhe-matrosskie popytki sovremennyx izdanii ‘pro eto’ zavlech chitatelia v svoi kolkhoznyi balagan” (Tat’iana Tolstaia, “Ne byvaet gol- ubei,” Moskovskie Novosti 42 [October 25–November, 1999]: 24). 4. M. V. Trostnikov, Poetologiia (Moscow: Graal’, 1997), 45–46; Susan Sontag, “Notes on ‘Camp,’” in Against Interpretation and Other Essays (New York: Farrar, Straus, and Giroux, 1966), 292. 5. Boris Eikhenbaum, “O proze M. Kuzmina,” in Podzemnye ruch’i: Romany, povesti, rasskazy, by Mikhail Kuzmin, ed. Aleksei Purin (St. Petersburg: Severo-Zapad, 1994), 8. 6. John Malmstad and Nikolay Bogomolov, Mikhail Kuzmin. A Life in Art (Cambridge: Harvard University Press, 1999), 71 (italics mine). 7. For a discussion of homosexuality and the motif of mirroring in Russian Silver age literature, see Luc Beaudoin, “Reflections in the Mirror: Icon- ographic Homoeroticism in Russian Silver Age Poetics,” in Rereading notes 183

Russian Poetry, ed. Stephanie Sandler (New Haven: Yale University Press, 1999), 161–82. 8. Famous dissident authors such as Solzhenitsyn, Lydiia Ginzburg, and Vasilii Grossman were no less beholden to “reality” than were official Soviet writers, although the reality they described was admittedly a very different one. 9. Taruskin, “Pathetic Symphonist,” 27. Nina Berberova conservatively estimates that eight grand dukes were “gay” during the reign of Nicholas II, and she lists them (Chaikovsky, 18–19). See also: Simon Karlinsky, intro- duction to Out of the Blue: Russia’s Hidden Gay Literature. An Anthol- ogy, ed. Kevin Moss (San Francisco: Gay Sunshine Press, 1997), 15–26. 10. Engelstein, The Keys to Happiness, 58. While it may be true that the overall “treatment of [homosexual] affairs was relatively mild” in the last century (K. Rotikov, Drugoi Peterburg (St. Peterburg: Liga-Plius, 320), especially when compared to the sexophobia and repression of the Soviet era, it was more true for the wealthy and well-placed. As Nina Berberova points out, prosecution and punishment were largely a function of wealth and power: “The aristocracy, members of the intelligentsia, merchants (in the two capitals) were subject to prosecution and punishment only in the rarest cases. . . . Everyone knew that when the rich and famous were involved in [sex] scandals, they were sent for a time to the Riviera, while the lower classes were sent to Siberia” (Chaikovskii, 18). With the exception of some working-class bathhouse boys, virtually all the players in The Other Petersburg belong to the city’s political, social, and cultural elites, as were most of those involved in the literary and aristic move- ments of the Silver Age. Rotikov’s focus on the upper echelons of Rus- sian society may partly explain his “rose-colored” look at Russia’s gay past, but it does not entirely justify it. In noting the relative infrequency of prosecution and punishment, Rotikov ignores the very real emotional suffering endured by Russian homosexuals in the tsarist period. For any- one who has read Konstantin Romanov’s anguished diary accounts of his personal battle against his “secret vice” or Petr Ilyich Chaikovsky’s tortured letter to his brother in which he declares his intention to wed, unable to bear the idea that he could be a source of shame to those who love him, Rotikov’s insouciant tone seems out of keeping with the realities of gay life in Russia—both then and now. Indeed, the author’s decision to publish his work under a pseudonym suggests precisely the concerns left largely untreated in his history. 11. Ol’ga Vainshtein, foreward to O Dendizme i Dzhordzhe Brammelle, by Barbey D’Aurevilly (Moscow: Nezavisimaia Gazeta, 2000), 36; Mikhail Kuzmin, introduction to O Dendizme i Dzhordzhe Brammelle, by Barbey D’Aurevilly (Moscow: Nezavisimaia Gazeta, 2000), 45. For more on dandyism in Russian fin-de-siècle culture, See Olga Vainshtein, “Russian Dandyism: Constructing a Man of Fashion,” in Russian Masculinities in 184 notes

History and Culture, ed. Barbara Evans Clements, Rebecca Friedman, and Dan Healey (London: Palgrave, 2002), 51–75. 12. Mikhail Kuzmin, Wings: Prose and Poetry, trans. Neil Granoien and Michael Green (Ann Arbor, MI: Ardis, 1972), 32. 13. Kuzmin, Wings, 33. 14. Quoted in Trostnikov, Poetologiia, 57fn; Vladimir Markov, introduction to Wings: Prose and Poetry, by Mikhail Kuzmin (Ann Arbor, MI: Ardis, 1972), xi. 15. Zolotonosov, “Kniga o ‘golubom Peterburge,’” 185. 16. Tolstaia, “Ne byvaet golubei,” 24. 17. Ol’ga Kushlina, “Zelenyi krai za parom golubym,” Novoe Literaturnoe Obozrenie 35.1 (1999): 401. 18. K. K. Rotikov, Drugoi Peterburg (St. Peterburg: Liga-Plius, 1998), 5. 19. It should be mentioned that Rotikov’s mannered style and ironic tone are especially unfit to deal with serious issues, such as AIDS, as in chap- ter 3, where he mentions the death of the poet and translator Gennadii Shmakov: “He lived a relatively short life, dying from the same disease as Michel Foucault, Rudolf Nureev and Freddy Mercury, thereby becom- ing a member of a rather elite club” (Drugoi Peterburg, 51). 20. Other questions of historical accuracy arise in the context of the author’s liberal interpretation of the facts of an individual’s biography in order to suggest an alternative sexual orientation. A good example of this would be his inclusion of the Romantic poet Konstantin Nikolaevich Batiushkov in his history on very scanty evidence indeed. His argument rests largely on the fact that the poet called off his engagement to Anna Furman and remained unmarried the rest of his life (Drugoi Peterburg, 16–17). 21. Drugoi Peterburg, 30. 22. All translations from Vaginov are taken from The Tower, trans. Benjamin Sher (New Orleans: Sher Publishers, 1997). 23. Tat’iana Nikol’skaia, “Tragediia chudakov,” introduction to Kozlinna pesn’; Trudy i dni Svistonova; Bambochada, by Konstantin Vaginov, ed. A. I. Vaginova (Moscow: Khudozhestvennaia literatura, 1989), 11. 24. Drugoi Peterburg, 6. For a discussion of the many literary and cultural references in Vaginov’s book, see Nikol’skaia, “Tragediia chudakov,” 8. 25. Vaginov, The Tower, 96. 26. Ibid., 63. 27. Keith Harvey, “Translating Camp Talk: Gay Identities and Cultural Transfer,” in The Translation Studies Reader, ed. Lawrence Venuti (Lon- don and New York: Routledge, 2000), 448. 28. Vaginov, The Tower, 44. 29. “V Akademii nauk/Zasedaet kniaz’ Dunduk./Govoriat, ne podobaet/ Dunduku takaia chest’./Pochemu zh on zacedaet?/Ottogo, chto zhopa est’” (Rotikov, Drugoi Peterburg, 33). 30. Rotikov, Drugoi Peterburg, 86. notes 185

31. Mikhail Trofimenkov, afterword to Mariusia Klimova, Golubaia krov’ (St. Petersburg: Mitin Zhurnal, 1996), 150); Aleksandr Gavrilov, blurb on back cover of Mariusia Klimova, Golubaia krov’ (St. Petersburg: Mitin Zhurnal, 1996). 32. Mariusia Klimova, Golubaia krov’ (St. Petersburg: Mitin Zhurnal, 1996), 51. 33. Klimova, Golubaia krov’, 63. Later, in what appears to be a reference to the characters of Vaginov’s Goat Song, Tolik says to Kostia, “‘Listen Teacher!’ which is what he called Kostia, ‘You and I will be like two Sufis! We’ll take walks and talk! And then, perhaps, you and I will pub- lish our own journal, like all poets at the beginning of the century’” (74). 34. Viacheslav Kondratovich, introduction to Golubaia krov’, by Mariusia Klimova (St. Petersburg: Mitin Zhurnal, 1996), 5. 35. Ibid. 36. Ibid. 37. “Marusik tozhe nedavno skazala, chto ei nraviatsia golubye, no ei ne nravitsia, chto oni trakhaiutsia v zadnitsu. No ved’ eto byvaet ochen’ redko, po bol’shoi p’ianke, v osnovnom my laskaem drug druga, igraem” (Klimova, Golubaia krov’, 51). 38. Klimova, Golubaia krov’, 51. 39. Ekaterina Andreeva, “Toward the Tenth Anniversary of Neoacademism, 1989–1999,” in Between Heaven and Earth, ed. W. Van den Bussche (Oostende: P. M. M. K.-MuseumKlapper, 2001), 3. 40. Sergej Dobrotvorskij, “A Tired Death,” in Selbsidentifikation. Positionen St. Petersburger Kunst von 1970s be heute/Self-Identification. Positions in St. Petersburg Art from 1970 until Today, ed. Kathrin Becker and Barbara Straka (Berlin: DruckVogt GmbH, 1994), 211. 41. Klimova, Golubaia krov’, 28. 42. Andrew Solomon, The Ivory Tower. Soviet Artists in a Time of Glasnost (New York: Alfred A. Knopf, 1991), 64–65. 43. Kathrin Becker, “The ‘Crisis of the Beautiful’ in St. Petersburg Art of the 90s,” in Selbsidentifikation. Positionen St. Petersburger Kunst von 1970s be heute/Self-Identification. Positions in St. Petersburg Art from 1970 until Today, ed. Kathrin Becker and Barbara Straka (Berlin: DruckVogt GmbH, 1994), 143. 44. Liubov’ Gurevich, “Lokhotron,” in Sbornik statei (St. Petersburg: Borey Art, 2001), 39–40. An unsympathetic critic, Gurevich refuses to see Novikov as exposing a homoerotic subtext in Nazi art; instead, she claims fascist aesthetics to be the “subtext” of Novikov’s art (35). 45. Gurevich, “Lokhotron,” 39. 46. Timur Novikov and Sergei Bugaev, “Timur and Afrika. Leningrad, Nomes, Necrocinema and the Disadvantages of Going West,” interview by Victor and Margarit Tupitsyn, FlashArt (March–April 1990), 122. 186 notes

47. Thomas Campbell, “Homosexuality as Device in Recent Petersburg Art” (paper presented at the annual meeting of the American Association for the Advancement of Slavic Studies, Boston, MA, December 2004). 48. N. N. Shneidman, Russian Literature. 1995–2002 (Toronto: University of Toronto Press, 2004), 102; Kevin Porter, Russia’s Alternative Prose (Oxford: Berg, 1994), 40. 49. David Gillespie, “Vladimir Sorokin and the Norm,” in Reconstructing the Canon: Russian Writing in the 1980s, ed. Arnold McMillin (Amster- dam: Overseas Publishers Association, 2000), 299 (italics mine). 50. Chernetsky, Mapping Postcommunist Cultures, 147. 51. Beaudoin, “Raising a Pink Flag,” 235; Vishevsky, “The Other Among Us,” 728. 52. Ulrich Schmid, “Flowers of Evil; The Poetics of Monstrosity in Contem- porary Russian Literature; Erofeev, Mamleev, Sokolov, Sorokin,” Rus- sian Literature (Aug 2000): 218. 53. Galina Rylkova, “The Apocalypse Revisited: Viktor Erofeev’s Russian Beauty,” Gender and Sexuality in Russian Civilization, ed. Peter I. Barta (London: Routledge, 2001), 327. 54. For more on the motif of homosexuality in Nabokov’s fiction, see Anna Brodksy, “Homosexuality and the Aesthetic of Nabokov’s Dar,” Nabo- kov Studies 4 (1997): 95–115; Steven Bruhm, “Queer, Queer Vladimir,” in Reflecting Narcissus. A Queer Aesthetic (Minneapolis: University of Minnesota Press, 2001), 116–43; Aleksandr Etkind, “Tainyi kod dlia zabludivshegosia pola: Literaturynyi diskurs o gomoseksual’nosti ot Rozanova do Nabokova,” in V poiskakh seksual’nosti. Sbornik statei, ed. E. Zdravomyslova and A. Temkina (St. Petersburg: Dmitrii Bulanin, 2002), 79–95; and Phyllis Roth, “The Psychology of the Double in Nabokov’s Pale Fire,” Essays in Literature 2.2 (1975): 209–29; 55. Vladimir Sorokin, Tridtsataia liubov’ Mariny (Moscow: P. Elinin, 1995), 164. 56. Ibid., 170. 57. Ibid., 177. 58. Ibid., 180. 59. Ibid. 60. Ibid., 48. 61. Ibid., 66. 62. Ibid., 123. 63. Here I disagree with Vitaly Chernetsky’s interpretation of Marina’s les- bianism as signifying “transgression par excellence, it fascinates much like political dissidence, and its place in the narrative machinery is subordinated to this paradigm” (Chernetsky, Mapping PostCommunist Cultures, 148) because Marina’s lesbianism is structurally opposed in the novel to politi- cal dissidence (which is presented as heterosexual and collectivist), and as such, it is thoroughly private and so does not, like political dissidence, occupy a place in the political realm, as it is traditionally understood. notes 187

64. Ibid., 118. 65. The mention of the grandmother’s silver plates suggests a link to prer- evolutionary elite culture. 66. The only other colors to appear in the passage are serebrianyi [silver] and fioletovyi [violet], each mentioned once. 67. Gary Jahn, “Chernyshevsky,” in Handbook of Russian Literature, ed. Victor Terras (New Haven and London: Yale University Press, 1985), 82. 68. Ibid., 126. 69. Sorokin, Tridtsataia liubov’ Mariny, 15. 70. Ibid, 17–18. 71. Ibid., 115. 72. Ibid., 118 73. Ibid., 18. 74. Italics mine. It is interesting to note that the Swiss psychologist Alice Miller, in her book The Drama of the Gifted Child. The Search for the True Self (New York: Basic Books, 1994), noted that many of the gifted children she observed, when forced to conform to general social and educational norms, experience this as a death (74–85). 75. This cosmopolitan mixing of languages, including Chinese, is reminis- cent of Aksenov’s novel The Island of Crimea (Ostrov Krym, 1981), the premise of which is that the Crimean Peninsula has become an island country inhabited by Russians who fled there after the Bolshevik Revolution and during the Civil War in order to escape the Reds. Like Sorokin, Aksevov creates a fictional world that is physically separated from reality. 76. The Order of Earth Fuckers evokes conservative Russian Slavophiles, who had special reverence for the Russian soil. 77. Vladimir Sorokin, “‘V kul’ture dlia menia net tabu . . . ,’” interview with Sergei Shapoval, in Vladimir Sorokin: Sobranie sochinenii, vol. 1 (Mos- cow: Ad Marginem, 1998), 10. 78. It is somewhat ironic that Sorokin, whose novel challenges the very con- cept of “original” literature, brought charges of copyright infringement against a certain Andrei Chernov, who posted the entire text of Goluboe salo on the Internet. The court ruled in favor of the defendant. For more on this incident, see Tukh, Pervaia desiatka sovermennoi russkoi literatury, 299–300. 79. Vladimir Sorokin, Goluboe salo (Moscow: Ad Marginem), 7. 80. Vladmir Nabokov, Lolita (New York: Alfred A. Knopf, 1992), 9. 81. Sorokin, Goluboe salo, 7. 82. The two other authors who are brought to mind in the opening passages of Goluboe salo are Zamiatin—the diary form and futuristic content are reminiscent of his famous dystopian novel, We [My] (1927)—and Vas- silii Aksenov, who, in the fictional world of The Island of Crimea [Ostrov 188 notes

Krym] invents a cosmopolitan language for his characters that is also heavily influenced by Chinese. 83. Mikhail Ryklin, “Medium i Avtor. O Tekstakh Vladimira Sorokina,” in Vladimir Sorokin. Sobranie sochinenii, vol. 2 (Moscow: Ad Marginem, 1998), 743. 84. It is not unthinkable that Sorokin is also alluding in the title to Salo, the film by the gay Italian director Pier Paolo Pasolini, which was itself based on 1001 Days of Sodom, by the Marquis de Sade, in that both these works describe a fictional world that has been entirely cut off from outside “reality” and now follows its own rules and inverted logic. 85. Vladimir Sorokin, “‘V kul’ture dlia menia net tabu . . . ,’” 20. 86. Vladimir Sorokin, “Delovoe predlozhenie,” in Utro Snaipera (Moscow: Ad Marginem, 2002), 24. 87. Ibid., 25. 88. Ibid., 24. 89. Serafima Roll, “Stripping Socialist Realism of its Seamless Dress: Vladi- mir Sorokin’s Deconstruction of Soviet Utopia and the Art of Represen- tation,” Russian Literature 39 (1996): 66. 90. Sorokin, “Delovoe predlozhenie,” 29. 91. Ibid., 3. 92. Ibid., 32. 93. In this sense, my reading differs from that of Serafima Roll, who sees the introduction of private life as undermining “the idealized façade of Socialist Realist literature” (“Stripping Socialist Realism,” 66). On the one hand, the allusion to the mechanisms of repression in part 1 already undermines that idealized façade, while on the other hand, one could argue that the world of Socialist Realism organizes the bizarre picture of “private” life that Sorokin presents in part 2. In other words, the two parts, I argue, are in a more complex, mirroring relationship. 94. Victor Pelevin, Buddha’s Little Finger, trans. Andrew Bromfield (New York: Penguin Putnam, 2000), 39. 95. Mark Lipovetsky, Russian Postmodern Fiction: Dialogue with Chaos, ed. and trans. Eliot Borenstein (New York: M. E. Sharpe, 1999), 196. 96. Ibid., 40. 97. Ibid., 40, 41. 98. Ibid, 39. 99. The “secret” meaning of numbers suggests an intertextual reference to Nabokov’s earlier novel The Real Life of Sebastian Knight (New York: New Directions, 1941), which is a kind of literary detective novel. 100. Viktor Pelevin, Chisla, in Dialektika perekhodnogo perioda iz niotkuda v nikuda (Moscow: Eksmo, 2004), 13. 101. Ibid., 30. 102. Ibid., 29. 103. In Lolita, Humbert Humbert refers to Quilty several times as his brother, in one instance parodying the famous line of Baudelaire—“mon notes 189

semblable, mon frère”—replacing the French frère with the German bruder. This is significant in that “warm brother” is German slang for homosexual. Quilty is also associated several times in the novel with the moon, as when the innkeeper exclaims, “She lifted [the bill] to the light of the moon. ‘He is your brother,’ she whispered at last. I plucked the bill out of her moon-cold hand, and spitting out a French curse turned and ran away” (264). 104. Ibid., 20. 105. Ibid., 91. 106. Ibid., 119. 107. Ibid., 128. 108. Pelevin does include one direct reference to Nabokov; it is a reference to the family’s anglophilia, which Stepa considers to be, to a certain extent, patriotic for a Russian (Pelevin, Chisla, 113). 109. Ibid., 168. 110. Nabokov, Lolita, 229. 111. Ibid., 253. 112. Some of the chapter headings do seem to have some meaning in that they relate to the important numbers in the novel, 34 and 43, in par- ticular. However, other numerical designations, such as 52 and 11, not to mention the letters that appear from time to time, appear to have no clear relevance to the novel’s plot. 113. In many ways, Stepa’s homosexuality is structurally akin to the notion of “inner Mongolia” in Buddha’s Little Finger. The latter designates the elusive spiritual core or essence of an individual just as homosexuality in Numbers is presented as the secret cause of Stepa’s actions. 114. Vladimir Nabokov, Pale Fire (New York: G. P. Putnam’s Sons, 1962), 265. 115. Ibid., 125. 116. Ibid., 128. 117. Ibid., 192. 118. Ibid., 195. 119. Ibid., 143. 120. Ibid., 141. 121. Nabokov, Lolita, 239. 122. Ibid., 140. 123. Ibid. 124. Ibid., 142. 125. Ibid., 140. According to Maliuta, only the first two types of homo- sexuality are rooted in nature; the other three are cultural products; and when Stepa tries to understand the “cause” of his homosexuality— mustn’t he be homosexual if he engaged, albeit unwittingly, in a homo- sexual sex act with Srakandaev?—he is at a loss: “Maybe there were unconscious tendencies that he was never aware of. Or the slave mental- ity that infected his soul as a child in Soviet times. . . . Or maybe it was 190 notes

that powder,” referring to some cocaine he snorted (196). Pelevin here as elsewhere refuses to fix his characters’ actions in an outside reality, be it psychoanalytical, physiological, or historical (just as Stepa is quick to point out that the television serial he develops, Chubaka i Ziuzia, “has no relationship to real politics” [139]). Stepa’s homosexual night might have simply been the effect of the cocaine, but who can say? The “real- ity” of his homosexuality is elusive. 126. Ibid., 80. 127. Ibid., 59. 128. Ibid., 198. 129. Pelevina, Chisla, 215. 130. E. R. Ponomarev and D. Sablin, “K voprosu o boro. Roman i slovo v tvorchestve V. Sorokina,” Zvezda (August 2000): 201. 131. Viktor Erofeev. “Stranstvie stradaiushchei dushi,” in Evgenii Kharitonov: Slezy na tsvetakh, vol. 2, ed. Iaroslav Mogutin (Moscow: Glagol, 1993), 111. 132. Viktor Erofeev, “Gomoseksual’nost’—ne geroi romana,” Art-fonar’ 5 (1994): 4. 133. David Remnick, Resurrection. The Struggle for a New Russia (New York: Vintage, 1998), 220. 134. Pelevin, Chisla, 144. Bibliography

Abramovich, Nikolai. Religiia krasoty i stradaniia. St. Petersburg: Losev, 1909. Aksenov, Vasilii. “B raione ploshchadi Diupon.” In Negativ polozhitel’nogo geroia. Rasskazy, 253–69. Moscow: Vagrius, 1996. Aksyonov, Vassily. Generations of Winter. Translated by John Glad and Chris- topher Morris. New York: Vintage, 1994. Akunin, Boris. Azazel’. Moscow: Zakharov, 2000. ———. Koronatsiia, ili poslednii iz romanov. Moscow: Zakharov, 2000. Altman, Dennis. “Global Gaze/Global Gays.” GLQ 3 (1997): 417–36. ———. The Homosexualization of America. Boston: Beacon Press, 1982. ———. “Rupture or Continuity? The Internationalization of Gay Identities.” Social Text 48 (Autumn 1996): 77–94. Andreeva, Ekaterina. “Towards the Tenth Anniversary of Neoacademism, 1989–1999.” In Between Heaven and Earth, edited by W. Van den Buss- che, 3. Oostende: P. M. M. K.-MuseumKlapper, 2001. Attwood, Lynn. “Young People, Sex and Sexual Identity.” In Gender, Gen- eration and Identity in Contemporary Russia, edited by Hilary Pilkington, 95–120. New York: Routledge, 1996. Baraban, Elena. “Obyknovennaia gomofobiia.” Niprikosnovennyi zapas 5, no. 19 (2001). http://magazines.russ.ru/nz/2001/5 (accessed December 28, 2001). Bawer, Bruce. A Place at the Table: The Gay Individual in American Society. New York: Poseidon Press, 1993. Beaudoin, Luc. “Raising a Pink Flag: The Reconstruction of Russian Gay Identity in the Shadow of Russian Nationalism.” In Gender and National Identity in Twentieth-Century Russian Culture, edited by Helena Goscilo and Andrea Lanoux, 225–40. DeKalb: Northern Illinois University Press, 2006. ———. “Masculine Utopia in Russian Pornography.” In Eros and Pornogra- phy in Russian Culture, edited by Marcus Levitt and Andrei L. Toporkov, 622–38. Moscow: Ladomir, 1999. Becker, Kathrin. “The ‘Crisis of the Beautiful’ in St. Petersburg Art of the 90s.” In Selbsidentifikation. Positionen St. Petersburger Kunst von 1970s bis heute/Self-Identification. Positions in St. Petersburg Art from 1970 until 192 bibliography

Today, edited by Kathrin Becker and Barbara Straka, 134–43. Berlin: DruckVogt GmbH, 1994. Berberova, Nina. Chaikovskii. St. Petersburg: Limbus Press, 1997. Berdiaev, Nikolai. Sud’ba Rossii. Russkaia ideia. Osnovnye problemy russkoi mysli XIX veka i nachala XX veka; Sud’ba Rossiia, 221–428. Moscow: Svarog, 1997. Berdyaev, Nikolai. The Russian Idea Boston: Beacon Press, 1962. Berger, John. Ways of Seeing. New York: Penguin, 1977. Bershtein, Evgenii. “The Russian Myth of Oscar Wilde.” In Self and Story in Russian History, edited by Laura Engelstein and Stephanie Sandler, 168– 88. Ithaca: Cornell University Press, 2000. Beumers, Birgit. Review of Sokurov’s Father and Son. Kinokultura, http:// www.kinokultura.com/reviews/R73fatherson.html (accessed May 15, 2008). ———. “The ‘Blue’ Stage: Homoosexuality in Russian Theatre and Drama of the 1990s.” In Gender and Sexuality in Russian Civilization, edited by Peter I. Barta, 295–309. London: Routledge, 2001. Bloch, Ivan. Sexual Life in England: Past and Present. Royston: Oracle Pub- lishing, 1996. Blok, Aleksandr. “‘Seti’ Mikhaila Kuzmina.” In Mikhail Kuzmin: Lirika, edited by Iu. G. Khatskevich, 3–12. Minsk: Kharvest, 1998. Borenstein, Eliot. “About That: Deploying and Deploring Sex in Postsoviet Russia.” Studies in Twentieth Century Literature 24, no. 1 (Winter 2000): 51–84. ———. “Slavophilia: The Incitement to Russian Sexual Discourse.” Slavic and East European Journal 40, no. 1 (Spring 1996): 142–47. Boswell, John. Same-Sex Unions in Premodern Europe. New York: Vintage, 1994. Brennan, Timothy. “The Cuts of Language: the East/West of North/South.” Public Culture 13, no. 1 (2001): 39–63. Browning, Frank. Preface to Cracks in the Iron Closet: Travels in Gay and Lesbian Russia, by David Tuller, ix–xii. Chicago: University of Chicago Press, 1996. ———. A Queer Geography: Journeys toward a Sexual Self. New York: Noon- day Press, 1998. Bruhm, Steven. “Queer, Queer Vladimir.” In Reflecting Narcissus: A Queer Aesthetic, 116–43. Minneapolis: University of Minnesota Press, 2001. Bushuev, Dimitri. Na kogo pokhozh arlekin. Tver: Kolonna, 1997. ———. “The Night Will Burst with Hail, and the Rain.” Translated by Vitaly Chernetsky. In Out of the Blue: Russia’s Hidden Gay Literature, edited by Kevin Moss, 401. San Francisco: Gay Sunshine Press, 1997. Campbell, Thomas. “Homosexuality as Device in Recent Petersburg Art.” Paper presented at the annual meeting of the American Association for the Advancement of Slavic Studies, Boston, MA, December 2004. Chamberlain, Lesley. “A Suffering People.” Times Literary Supplement (December 22, 1995): 11. bibliography 193

Chauncey, George. Gay New York: Gender, Urban Culture and the Making of the Gay Male World 1890–1940. New York: BasicBooks, 1994. Cheremisinova, Mariia. “Goluboi Onegin.” Interview by Maiia Kulikova. Ogonek 21, no. 4696 (May 2001): 44–45. Chernetsky, Vitaly. Mapping Postcommunist Cultures: Russia and Ukraine in the Context of Globalization. Montreal: McGill-Queen’s University Press, 2007. Chkhartishvili, Grigorii. Pisatel’ i samoubiistvo. Moscow: Novoe Literaturnoe Obozrenie, 2000. Chukhno, Valerii. “Ispoved’ dushi.” In Oskar Vaild: De Profundis, 432–62. Moscow: Eksmo, 2003. Chukovskii, Kornei. “Oskar Uail’d. Etiud.” In Polnoe sobranie sochinenii Oskara Uailda, vol. 1, edited by K. I. Chukovskii, i–xxxiii. St. Petersburg: A. F. Marks, 1912. Cohen, Stephen F. “American Journalism and Russia’s Tragedy.” The Nation 271, no. 9 (October 2, 2000): 23–30. Corber, Robert J. Homosexuality in Cold War America: Resistance and the Crisis of Masculinity. Durham, NC: Duke University Press, 1997. Cranin, Scott. Review of Sokurov’s Father and Son. Tlavideo. http://www .tlavideo.com/product/2–0-206997_father-and-son.html?sn=1 (accessed May 15, 2008). Croce, Fernando F. “Sokurov’s from Russia with Man-Love.” Cinepassion. http://www.cinepassion.org/Archives/FatherSon.html (accessed May 15, 2008). Dashkova, Polina. Nikto ne zaplachet. Moscow: Astrel’, 2002. D’Erasmo, Stacey. “Polymorphous Normal,” New York Times Magazine (October 14, 2001): 104–07. Dobrotvorskij, Sergej. “A Tired Death.” In Selbsidentifikation: Positionen St. Petersburger Kunst von 1970s bis heute/Self-Identification: Positions in St. Petersburg Art from 1970 until Today, edited by Kathrin Becker and Bar- bara Straka, 211. Berlin: DruckVogt GmbH, 1994. Dostoevsky, Fyodor. A Writer’s Diary. Translated by Kenneth Lantz, vol. 1, 1873–1876. Evanston, IL: Northwestern University Press, 1993. Easthope, Anthony. What’s a Man Gotta Do? The Masculine Myth in Popular Culture. New York: Routledge, 1990. Edelman, Lee. Homographesis: Essays in Gay Literary and Cultural Theory. New York: Routledge, 1994. Eifman Ballet of St. Petersburg. Theater program for Tchaikovsky: The Mystery of Life and Death. State Theatre. Cleveland, Ohio, April 22–23, 2003. Eikhenbaum, Boris. “O proze M. Kuzmina.” In M. Kuzmin. Podzemnye ruch’i. Izbrannaia proza, edited by Aleksei Purin, 6–8. Saint Petersburg: Severo-Zapad, 1994. Engelstein, Laura. “Combined Underdevelopment: Discipline and Law in Imperial and Soviet Russia.” American Historical Review (April 1993): 338–53. 194 bibliography

———. The Keys to Happiness: Sex and the Search for Modernity in Fin-de- Siècle Russia. Ithaca: Cornell University Press, 1992. ———. “There Is Sex in Russia—and Always Was: Some Recent Contribu- tions to Russian Erotics.” Slavic Review 51 (1992), 786–90. Enikeeva, Dilia. Seksual’nais patologiia. Moscow: Binom, 1997. ———. Gei i lesbianki. Moscow: Astrel’/ACT, 2003. Erkenov, Khussein. Sto dnei do prikaza. 70 mins. Moscow: Gorky Film Stu- dios, 1990. Erofeev, Venedikt. Moscow to the End of the Line. Translated by H. William Tjalsma. Evanston, IL: Northwestern University Press, 1997. Erofeev, Viktor. “Gomoseksual’nost’—ne geroi romana.” Art-fonar’ 5 (1994): 4. ———. Muzhchiny. Moscow: Podkova, 1999. ———. Russkaia krasavitsa. Moscow: Vsia Moskva, 1990. ———. “Stranstvie stradaiushchei dushi.” In Evgenii Kharitonov: Slezy na tsvetakh, vol. 2, edited by Iaroslav Mogutin, 145–47. Moscow: Glagol, 1993. Essig, Laurie. Queer in Russia: A Story of Sex, Self, and the Other. Durham, NC: Duke University Press, 1999. Fallowell, Duncan. One Hot Summer in St. Petersburg. London: Jonathan Cape, 1994. Flynn, Moya, and Elena Starkova. “Talking Global? Images of the West in the Youth Media.” In Looking West? Cultural Globalization and Russian Youth Cultures, edited by Hilary Pilkington, 50–76. University Park: The Pennsylvania State University Press, 2002. Foucault, Michel. Discpline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage, 1997. ———. The History of Sexuality. Volume I: An Introduction. Translated by Robert Hurley. New York: Vintage, 1990. Franeta, Sonia. Rozovye flamingo: 10 sibirskikh interv’iu. Tver: Ganimed, 2004. Garber, Marjorie. Bisexuality and the Eroticism of Everyday Life. New York: Routledge, 2000. German, Aleksei. Khrustalev, mashinu! 140 min. St. Petersburg: Kinostudiia Pervogo i Eksperimental’nogo Fil’ma, 1998. Gillespie, David. “Vladimir Sorokin and the Norm.” In Reconstructing the Canon: Russian Writing in the 1980s, edited by Arnold McMillin, 299– 310. Amsterdam: Overseas Publishers Association, 2000. Goscilo, Helena. “Casting and Recasting the Caucasian Captive.” In ‘Push- kin’s Secret’: Russian Writers Reread and Rewrite Pushkin, vol. 1 of Two Hundred Years of Pushkin, edited by Joe Andrew and Robert Reid, 195– 207. Amsterdam: Rodopi, 2003. ———. “Style and S(t)imulation: Popular Magazines, or the Aesthetization of Postsoviet Russia.” Studies in Twentieth Century Literature 24, no. 1 (Winter 2000): 15–50. bibliography 195

Gurevich, Liubov’. “Lokhotron.” In Sbornik statei, 23–42. St. Petersburg: Borey Art, 2001. Harvey, Keith. “Translating Camp Talk: Gay Identities and Cultural Trans- fer.” In The Translation Studies Reader, edited by Lawrence Venuti, 446– 67. London: Routledge, 2000. Healey, Dan. Homosexual Desire in Revolutionary Russia. The Regulation of Sexual and Gender Dissent. Chicago: University of Chicago Press, 2001. ———. “Homosexual Existence and Existing Socialism. New Light on the Repression of Male Homosexuality in Stalin’s Russia.” GLQ 8, no. 3 (2002): 349–78. Hohn, Donovan. “An American Werewolf in Russia,” Civilization (Octo- ber–November 1999): 100. Iarkevich, Igor’. “Kak menia ne iznasilovali.” In Kak ia i kak menia, 18–39. Moscow: IMA-Press, 1991. Il’ianen, Aleksandr. I finn. Tver: Kolonna, 1997. Ivanov, Nikita. Unpublished Report to the Board of ILGA-Europe. Submit- ted November 14, 2000. Jahn, Gary. “Chernyshevsky, Nikolai Gavrilovich.” In Handbook of Russian Literature, edited by Victor Terras, 81–82. New Haven, CT: Yale Univer- sity Press, 1985. K. Letter to Literaturnaia gazeta 13, no. 5235 (March 29, 1989): 11. Kaganovsky, Lilya. “Men Wanted: Female Masculinity in Sergei Livnev’s Hammer and Sickle.” Slavic and East European Journal 51, no. 2 (Sum- mer 2007): 229–46. Karlinsky, Simon. “Gay Life before the Soviets: Revisionism Revisited.” Advo- cate 339 (April 1, 1982): 31–34. ———. “Introduction: Russia’s Gay Literature and History.” In Out of the Blue: Russia’s Hidden Gay Literature, edited by Kevin Moss, 15–26. San Francisco: Gay Sunshine Press, 1996. ———. “Russia’s Gay Literature and History (11th–20th Centuries).” Gay Sunshine 29–30 (Summer/Fall 1976): 1–7. ———. “Russia’s Gay Literature. Part II: Controversy.” Gay Sunshine 31 (Winter 1977): 26; Kharitonov, Evgenii. “In the Cold Higher Sense.” In Under House Arrest. Translated by Arch Tait, 188–205. London: Serpent’s Tail: 1998. Klein, Lev. Drugaia liubov’. St. Petersburg: Folio Press, 2000. ———. Drugaia storona svetila. St. Petersburg: Folio Press, 2002. Klimontovich, Nikolai. “Uedinennoe slovo.” In Slezy na tsvetakh: Sochineniia Evgeniia Kharitonova, vol. 2, edited by Iaroslav Mogutin, 108–16. Mos- cow: Glagol, 1993. Klimova, Marusia. Golubaia krov’. St. Petersburg: Mitin Zhurnal, 1999. Kokker, Steve. “Andrei: A Family Tradition and Denis: Raised on Mother’s Milk.” In Military Trade, edited by Steven Zeeland, 77–106. Bingham- ton, NY: Haworth Press, 1999. ———. Bereza. 30 mins. Palaestra Productions, 1996. 196 bibliography

———. Komrades! 64 mins. Palaestra Productions, 2003. Kolyada, Nikolai. Slingshot (play). Translated by Susan Larsen. In Out of the Blue. Russia’s Hidden Gay Literature, edited by Kevin Moss, 307–33. San Francisco: Gay Sunshine Press. Kon, Igor. “Amerikanskaia aspirantka otkryvaet Rossiiu.” http://gay.ru/ science/Kon/index.htm (accessed January 17, 2002). ———. Muzhskoe telo v istorii kul’tury. Slovo, 2003. ———. Seksual’naia kul’tura v Rossii. Klubnichka na berezke. Moscow: O. G. I., 1997. ———. The Sexual Revolution in Russia from the Age of the Czars to Today. Translated by James Riordan. New York: The Free Press, 1995. Kondratovich, Viacheslav. Introduction to Golubaia krov’, by Mariusia Kli- mova, 3–6. St. Petersburg: Mitin Zhurnal, 1996. Kovaleva, Ekaterina. Moi goluboi drug. http://www.index.org.ru /turma/ tz/021127ek.htm?p= (accessed October 30, 2003). Kozlovskii, Vladimir. Argo russkoi gomoseksual’noi subkul’tury. Materialy k izucheniiu. Benson, Vermont: Chalidze Publications, 1986. Kushlina. Olga. “Zelenyi krai za parom golubym.” Novoe Literaturnoe Oboz- renie 35, no. 1 (1999): 401. Kuzmin, Mikhail. Introduction to O Dendizme i Dzhordzhe Brammelle, by Barbey D’Aurevilly, 43–46. Moscow: Nezavisimaia Gazeta, 2000. ———. Wings. Translated by Neil Granoien and Michael Green. Ann Arbor, MI: Ardis, 1972. Kuz’mina, L. I. Avgusteishii poet. K. R. Stikhi raznykh let. Lichnost’. Tvorchestvo. St. Petersburg: Liki Rossii, 1995. Larsen, Susan. Preface to Slingshot. In Out of the Blue: Russia’s Hidden Gay Literature, edited by Kevin Moss, 308. San Francisco: Gay Sunshine Press, 1997. Lauritsen, John, and David Thorstad. “Russia’s Gay Literature. Part II: Con- troversy.” Gay Sunshine 31 (Winter 1977): 25–26. Lavut, Evgeniia. “Neizvestnyi Oskar Vaild.” Knizhnoe obozrenie “Ex Libris NG” 15 (September 17, 1997): 5. Leavitt, David. Introduction to The Penguin Book of International Gay Writ- ing, edited by Mark Mitchell, xiii–xx. New York: Penguin, 1995. Levkin, Andrei. “Rossiiskie tainy: seksa net” (2003). http://www.gazeta.ru/ comments/felieton/36890.shtml (accessed November 3, 2005). Lipovetsky, Mark. Russian Postmodern Fiction: Dialogue with Chaos, edited and translated by Eliot Borenstein. New York: M. E. Sharpe, 1999. Lipovskaya, Olga. “Sisters or Stepsisters: How Close is Sisterhood?” Women’s Studies International Forum 17 (1994): 273–76. Lissyutkina, Larissa. “Soviet Women at the Crossroads of Perestroika.” In Gender Politics and Post-Communism. Reflections from Eastern Europe and the Former Soviet Union, edited by Nanette Funk and Magda Mueller, 274–86. New York: Routledge, 1993. bibliography 197

Livnev, Sergei. Serp i molot. 93 mins. Sverdlovsk: Sverdlovsk Film Studio and Film Company Strana, 1994. Longo, Iurii. “Ne dyshite nam v zad.” Andrei 7 (1995): 54–57. Makanin, Vladimir “Captive of the Caucasus.” Translated by Arch Tait. In Captives. Contemporary Russian Stories, edited by Natasha Perova and Joanne Turnbull, 11–51. Moscow: Glas, 2005. Malmstad, John E., and Nikolay Bogomolov. Mikhail Kuzmin. A Life in Art. Cambridge: Harvard University Press, 1999. Marinina, Aleksandra. Stilist. Moscow: Eksmo, 2002. McCausland, Gerald. “Viktor Olegovich Pelevin.” In Russian Writers since 1980, edited by Marina Balin and Mark Lipovetsky, 208–19. Dictionary of Literary Biography, vol. 285. Farmington Hills, MI: The Gale Group, 2004. Miller, D. A. The Novel and the Police. Berkeley: University of California Press, 1998. Miller, Neil. In Search of Gay America: Women and Men in a Time of Change. New York: Harper and Row, 1989. Mogutin, Iaroslav. “Fuck the Elite.” Interview by Bill Andriette. The Guide 19, no. 11 (November 1999): 16–19. ———. “Katorzhnik na nive bukvy.” In Slezy na tsvetakh: Sochineniia Evge- niia Kharitonova, edited by Iaroslav Mogutin, 1:5–18. Moscow: Glagol, 1993. Moiseev, Boris. Ptichka. Zhivoi zvuk. Moscow: ACT; Astrel’, 2007. Moss, Kevin. “The Underground Closet: Political and Sexual Dissidence in East European Culture.” In Post-Communism and the Body Politic. Gen- ders, vol. 22, edited by Ellen E. Berry, 229–51. New York: New York University Press, 1995. Moroz, Oleg. “Otverzhennye.” Ogonek 16 (April 1990): 26–28. Mulvey, Laura. “Visual Pleasures and Narrative Cinema.” In Visual and Other Pleasures, 14–26. Bloomington: Indiana University Press, 1989. Murray, Stephen O. Homosexualities. Chicago: University of Chicago Press, 2000. Nabokov, Vladimir. Lolita. New York: Alfred A. Knopf, 1992. ———. Pale Fire. New York: G. P. Putnam’s Sons, 1962. Naiman, Eric. Sex in Public: The Incarnation of Early Soviet Ideology. Princ- eton: Princeton University Press, 1997. Nepomnyashchy, Catherine Theimer. “Markets, Mirrors, and Mayhem: Alek- sandra Marinina and the Rise of the New Russian Detektiv.” In Consuming Russia: Popular Culture, Sex, and Society since Gorbachev, edited by Adele Marie Barker, 161–91. Durham, NC: Duke University Press, 1999. Nikitin, V. A. Foreward to Andre Zhid: Izbrannoe, edited by V. A. Nikitin, 1–16. Moscow: Terra, 1997. Nikol’skaia, Tat’iana. “Tragediia chudakov.” Introduction to Kozlinna pesn’; Trudy i dni Svistonova; Bambochada, by Konstantin Vaginov, edited by A. I. Vaginova, 3–13. Moscow: Khudozhestvennaia literatura, 1989. 198 bibliography

Nikonov, Aleksandr. Konets feminizma: chem zhenshchina otlichaetsia ot che- loveka. St. Petersburg: NTs ENAS, 2008. Novikov, Timur, and Sergei Bugaev. “Timur and Afrika. Leningrad, Nomes, Necrocinema and the Disadvantages of Going West.” Interview by Victor and Margarita Tupitsyn. FlashArt (March–Apr 1990): 122–25. Olcott, Anthony. Russian Pulp: The Detektiv and the Way of Russian Crime. Lanham, MD: Rowman & Littlefield, 2001. Omel’chenko, Elena, and Moya Flynn. “Through Their Own Eyes: Young People’s Images of ‘the West.’” In Looking West? Cultural Globalization and Russian Youth Cultures, edited by Hilary Pilkington, 77–100. Univer- sity Park: The Pennsylvania State University Press, 2002. Paglia, Camille. Vamps and Tramps. New Essays. New York: Vintage, 1994. Pavlov, Iurii. Sotvorenie Adama. 93 mins. St. Petersburg: Borchaly Film Stu- dio with Neva Film Studio, 1993. Pelevin, Victor. Buddha’s Little Finger. Translated by Andrew Bromfield. New York: Penguin Putnam, 1999. Pelevin, Viktor. Chisla. In Dialektika perekhodnogo perioda iz niotkuda v nikuda, 8–264. Moscow: Eksmo, 2004. Pesman, Dale. Russia and Soul: An Exploration. Ithaca: Cornell University Press, 2000. ———. “Tropes of Depth and the Russian Soul: Openings and Closings in Post-Soviet Russia.” In Altering States: Ethnographies of Transition in Eastern Europe and the Former Soviet Union, edited by D. Berdahl, M. Bunzl, and M. Lampland, 181–207, Ann Arbor: University of Michigan Press, 2000. Peterson, Dale E. “Justifying the Margin: The Construction of ‘Soul’ in Rus- sian and African-American Texts.” Slavic Review 51, no. 4 (Winter 1992): 749–57. Petrova, Dimitrina. “What Can Women Do to Change the Totalitarian Cultural Context?” Women’s Studies International Forum 17 (1994): 267–71. Pilkington, Hilary. “The Dark Side of the Moon? Global and Local Horizons.” In Looking West? Cultural Globalization and Russian Youth Cultures, edited by Hilary Pilkington, 133–64. University Park: The Pennsylvania State University Press, 2002. ———. Introduction to Gender, Generation and Identity in Contemporary Russia, edited by Hilary Pilkington, 1–20. New York: Routledge, 1996. ———. Introduction to Looking West? Cultural Globalization and Russian Youth Cultures, edited by Hilary Pilkington, xiii-xix. University Park: The Pennsylvania State University Press, 2002. Pleshakov, Konstantin. “Bogatyi siuzhet.” The New Review (June 1994): 39–47. Plummer, Ken. Introduction to Modern Homosexualities: Fragments of Les- bian and Gay Experience, edited by Ken Plummer, 3–28. London: Rout- ledge, 1992 bibliography 199

Poliakov, Iurii. Sto dnei do prikaza. Moscow: Molodaia gvardiia, 1988. Ponomarev, E. R., and D. Sablin. “K voprosu o boro. Roman i slovo v tvorchestve V. Sorokina.” Zvezda (Aug 2000): 200–207. Popov, Evgenii. “Kus ne po zubam.” In Slezy na tsvetakh: Sochineniia Evge- niia Kharitonova, vol. 1, edited by Iaroslav Mogutin, 102–5. Moscow: Glagol, 1993. Popovskii, Mark. Tretii lishnii. On, ona i sovetskii rezhim. London: Overseas Publications Interchange, 1985. Porter, Robert. Russia’s Alternative Prose. Oxford: Berg, 1994. Poznansky, Alexander. Samoubiistvo Chaikovskogo: Mif i real’nost’. Moscow: Glagol, 1993. ———. “Tchaikovsky as Communist Icon.” In For SK: In Celebration of the Life and Career of Simon Karlinsky, edited by Michael S. Flier and Robert P. Hughes, 233–46. Berkeley: University of California Press, 1994. Prirodnyi, Ksenofon. “Ksenofonshchina nedeli.” Komsomol’skaia Pravda (May 17–24, 2007): 3. Prokhorov, Alexander. “‘I Need Some Life-Assertive Character’ or How to Die in the Most Inspiring Pose: Bodies in the Stalinist Museum of Ham- mer & Sickle.” Studies in Slavic Cultures 1 (2000): 28–46. Remnick, David. Resurrection. The Struggle for a New Russia. New York: Vin- tage, 1998. Repov, S., and A. Fufyrin. “Gei ne pei.” Argumenty i fakty 22 (2007): 2. Ries, Nancy. Russian Talk: Culture and Conversation during Perestroika. Ithaca: Cornell University Press, 1997. Rimmel, Lesley. “Commentary: Pornography in Russia Today: Men’s Anxi- eties, Women’s Silences.” In Eros and Pornography in Russian Culture, edited by M. Levitt and A. Toporkov, 639–42. Moscow: Ladomir, 1999. Robinson, Harlow. “‘Molchanie—eto smert’, or ‘Keeping Russia Clean’: Recent Development in the Gay and Lesbian Movement in Russia.” In For SK: In Celebration of the Life and Career of Simon Karlinsky, edited by Michael S. Flier and Robert P. Hughes, 255–62. Oakland, CA: Berkeley Slavic Specialties, 1994. Rofel, Lisa. “Qualities of Desire: Imagining Gay Identities in China.” GLQ 5, no. 4 (1999): 451–74. Roll, Serafima. “Stripping Socialist Realism of its Seamless Dress: Vladimir Sorokin’s Deconstruction of Soviet Utopia and the Art of Representa- tion.” Russian Literature 39 (1996): 65–78. Rotikov, K. K. Drugoi Peterburg. St. Petersburg: Liga-Plius, 1998. Rotkirch, Anna. “‘What Kind of Sex Can You Talk about?’ Acquiring Sexual Knowledge in Three Soviet Generations.” In On Living through Soviet Russia, edited by Daniel Bertaux, Paul Thompson, and Anna Rotkirch, 93–119. London: Routledge, 2004. Rozanov, V. V. Selected Writings. Translated and with an introduction by Spencer E. Roberts. New York: Philosophy Library, 1978. Russia! “Art: The Degenerates,” Russia! (Winter 2008), 94–103. 200 bibliography

Ryklin, Mikhail. “Medium i Avtor.” In Vladimir Sorokin. Sobranie sochinenii, 2:737–51. Moscow: Ad Marginem. 1998. Rylkova, Galina. “The Apocalypse Revisited: Viktor Erofeev’s Russian Beauty.” In Gender and Sexuality in Russian Civilization, edited by Peter I. Barta, 325–43. London: Routledge, 2001. Sadur, Nina. Nemets. In Chudesnye znaki. Romany, povest’, rasskazy, 187–270. Moscow: Vagrius, 2000. ———. “Zhivaia dliashchaiasia zhizn’.” In Slezy na tsvetakh: Sochineniia Evge- niia Kharitonova, vol. 2, edited by Iaroslav Mogutin, 148–51. Moscow: Glagol, 1993. Said, Edward. Orientalism. New York: Vintage, 1978. Salecl, Renata. The Spoils of Freedom. Psychoanalysis and Feminism After the Fall of Socialism. London: Routledge, 1994. Samoilov [Klein], Lev. Perevernutyi mir. St. Petersburg: FARN, 1993. Schluter, Daniel P. Gay Life in the Former USSR: Fraternity without Commu- nity. New York: Routledge, 2002. Schmid, Ulrich. “Flowers of Evil; The Poetics of Monstrosity in Contem- porary Russian Literature; Erofeev, Mamleev, Sokolov, Sorokin.” Russian Literature (Aug 2000): 205–22. Sedgwick, Eve Kosofsky. Between Men: English Literature and Male Homoso- cial Desire. New York: Columbia University Press, 1985. ———. Epistemology of the Closet. Berkeley: University of California Press, 1990. Semenenko, Aleksei. Hamlet the Sign: Russian Translations of Hamlet and Literary Canon Formation. Stockholm: Stockholm University, 2007. Shneidman, N. N. Russian Literature. 1995–2002. Toronto: University of Toronto Press, 2004. Showalter, Elaine. Sexual Anarchy: Gender and Culture at the Fin de Siècle. New York: Penguin, 2000. Sidorov, Aleksei, dir., Brigada, episode 8, 2003. Sinfeld, Alan. The Wilde Century: Effeminacy, Oscar Wilde and the Queer Moment. New York: Columbia University Press, 1994. Sinyavsky. Andrei. Soviet Civilization. A Cultural History. Translated by Joanne Turnbull. New York: Arcade Publishing, 1988. Slovenko, Ralph. “Homosexuality and the Law.” In Homosexual Behavior: A Modern Reappraisal, edited by Judd Marmor, 194–218. New York: Basic, 1980. Smejkalova-Strickland, Jirina. “Do Czech Women Need Feminism?” Women’s Studies International Forum 17 (1994): 277–82. Solomon, Andrew. The Irony Tower: Soviet Artists in a Time of Glasnost. New York: Alfred A. Knopf, 1991. Sontag, Susan. “Notes on ‘Camp.’” In Against Interpretation and Other Essays, 275–92. New York: Farrar, Straus, and Giroux, 1966. Sorokin, Vladimir. “Delovoe predlozhenie.” In Utro snaipera, 24–32. Mos- cow: Ad Marginem, 2002. bibliography 201

———. Goluboe salo. Moscow: Ad Marginem, 1999. ———. Sobranie sochinenii. 2 volumes. Moscow: Ad Marginem, 1998. ———. Tridtsataia liubov’ Mariny. Moscow: P. Elinin, 1995. ———. “‘V kul’ture dlia menia net tabu. . . . ’” Interview with Sergei Shapoval. In Vladimir Sorokin: Sobranie sochinenii, 1:7–20. Moscow: Ad Marginem, 1998. Stolpovskaia, Olga, and Dmitrii Troitskii. Ia liubliu tebia. 85 min. Moscow: Praim Taim Studio, 2004. Taruskin, Richard. “Pathetic Symphonist: Chaikovsky, Russia, Sexuality and the Study of Music.” The New Republic (February 6, 1995):26–40. Terapiano, Iurii. Introduction to Zinaida Gippius: Izbrannoe, edited by T. Prokopov, 5–19. Moscow: Terra, 1997. Thompson, Graham. Male Sexuality under Surveillance. The Office in Ameri- can Literature. Iowa City: University of Iowa Press, 2003. Tolstaia, Tat’iana. “Ne byvaet golubei.” Moskovskie novosti 42 (October 25– November 1, 1998): 24. Tomashevskii, Boris. Teoriia literatury: Poetika. New York: Johnson Reprint Corporation, 1967. Toporov, Viktor. Dvoinoe dno: Priznaniia skandalista. Moscow: Zakharov/ Act, 1999. Trifonov, Gennady. “Open Letter to Literaturnaya Gazeta.” Translated by Kevin Moss. In Out of the Blue: Russia’s Hidden Gay Literature, edited by Kevin Moss, 230–32. San Francisco: Gay Sunshine Press, 1997. Trofimenkov, Mikhail. “O romanakh Marusi Klimovoi: Posleslovie.” In Gol- ubaia krov’, by Mariusia Klimova, 147–50. St. Petersburg: Mitin Zhurnal, 1996. Trostnikov, M. Poetologiia. Moscow: Graal’, 1997. Tukh, Boris. Pervaia desiatka sovremennoi russkoi literatury. Moscow: Oniks 21 vek, 2002. Tuller, David. Cracks in the Iron Closet: Travels in Gay and Lesbian Russia. Chicago: University of Chicago Press, 1996. Uchitel’, Aleksei. Dnevnik ego zheny. 110 mins. St Petersburg: TPO Rok, Lenfil’m, Am Studio, Goskino Rossii, 2000. Ulitskaia, Liudmila. “Golubchik.” Veselye pokhorony, 282–306. Moscow: Vagrius, 2001. Vaginov, Konstantin. The Tower [Kozlinnaia pesn’]. Translated by Benjamin Sher. New Orleans: Sher Publishers, 1997. Vainshtein, Ol’ga. Foreword to O Dendizme i Dzhordzhe Brammelle, by Bar- bey D’Aurevilly, 5–42. Moscow: Nezavisimaia Gazeta, 2000. Veller, Mikhail. Liubov’ zla. St. Petersburg: Neva, 2000. Vezhbitskaia [Wierzbicka], Anna. Ponimanie kul’tur cherez posredstvo kli- uchevykh slov. Moscow: Iazyki Slavianskoi Kul’tury, 2001. Vishevsky, Anatoly. “Answers to Eternal Questions in Soft Cover: Post-Soviet Detective Stories.” Slavic and East European Journal 45, no. 4 (Winter 2001): 733–39. 202 bibliography

———. “The Other Among Us: Homosexuality in Recent Russian Lit- erature.” Slavic and East European Journal 42, no. 4 (Winter 1998): 723–29. Vitkovskii, Evgenii. Introduction to Oskar Uail’d: Polnoe sobranie stikhotvore- nii i poem, edited by E. Vitkovskii, 7–25. St. Petersburg: Evraziia, 2000. Voronin, Aleksandr. Letter to the editor of 1/10. Translated by Kevin Moss. Out of the Blue: Russia’s Hidden Gay Literature, edited by Kevin Moss, 253–54. San Francisco: Gay Sunshine Press, 1997. Vorontsov, Dmitrii. “‘Semeinaia zhizn’—eto ne dlia nas’: Mify i tsennosti muzhskikh gomoseksual’nykh par.” In Semeinye uzly: Modeli dlia sborki, vol. 1, edited by Sergei Ushakin, 576–607. Moscow: Novoe Literaturnoe Obozrenie, 2004. Walters, Suzanna Danuta. All the Rage: The Story of Gay Visibility in America. Chicago and London: University of Chicago Press, 2000. Wierzbicka, Anna. Semantics, Culture, and Cognition: Universal Human Concepts in Culture-Specific Configurations. New York: Oxford University Press, 1992. ———. “Soul and Mind: Linguistic Evidence for Ethnopsychology and Cul- tural History.” American Anthropologist 91(1989): 41–58. Williams, Robert C. “The Russian Soul: A Study in European Thought and Non-European Nationalism.” Journal of the History of Ideas 31, no. 4 (October–December 1970): 573–88. Wolfe, Elizabeth. “Gays Gather Quietly, Out of the Political Spotlight.” Mos- cow Times (March 27, 2001): 10. Wolff, Larry. Inventing Eastern Europe. The Map of Civilization on the Mind of the Enlightenment. Stanford: Stanford University Press, 1994. Wood, Tony. “The Unfrozen. The Films of Aleksei German.” New Left Review 7 (January–February 2001). http://www.newleftreview.net/ ?page=article&view=2303 (accessed August 31, 2006). Yasinsky, Vitaly. “A Sunny Day at the Seaside.” Translated by Anthony Van- chu. In Out of the Blue: Russia’s Hidden Gay Literature, edited by Kevin Moss, 380–83. San Francisco: Gay Sunshine Press, 1997. Zhirinovskii, Vladimir, and Vladimir Iurovitskii. Azbuka seksa. Moscow: Polit- biuro, 1998. Zhuk, Olga. Russkie amazonki: Istoriia lesbiiskoi subkul’tury v Rossii. XX vek. Moscow: Glagol, 1998. Zolotonosov, Mikhail. “Kniga o ‘golubom Peterburge’ kak fenomen sovre- mennoi kul’tury.” Novyi mir 5 (1999): 185–91. Zven’evaia, A. A. Aktual’nye problemy fenomena gomoseksual’nosti: Raduga nad Rossiei. Moscow: Tsentr Politicheskoi Informatsii, 2006. Index

ABCs of Communism, The Andropov, General Secretary, 133 (Bukharin), 39 Anna Karenina (Tolstoy), 139–40 ABCs of Sex, The (Zhirinovsky and aristocracy, 123, 127, 183n10 Iurovitskii), 39–40, 88, 100, “Around Dupont Circle” (Aksenov), 101 96, 98, 113–15, 180–81n123 Abramovich, Nikolai, 91–92 Article 121, Russian Criminal Code, Ackroyd, Peter, 175–76n8 71, 104 active-passive model, 36–41, 52, repeal of (1993), 2, 24, 43, 44, 59–61, 89, 146, 148–49, 72 161n102, 173n54, 181n125 artistic sensitivity, 6, 15, 93–94, Ada (Nabokov), 139–40 98–101, 105, 110, 115–18 Adolescence (Tolstoy), 140 asexuality, 93, 118, 165n38 aesthetic device, homosexuality as, Attwood, Lynn, 39 131 Aurevilly, Barbey, 124 aesthetics and aestheticism, 3, 4, “Autumn of the Pre-Owned,” 15–16 168–69n79 fascist, 38, 129–30, 185n44 Azamovskii, Konstantin, 71 postmodernism and, 131–50 prerevolutionary, 122–31 Baburin, Sergei, 9 soul or dusha and, 95, 99 Bakhtin, Mikhail, 8, 36 Against Nature (Huysmans), 127 Ballad of Reading Goal, The Akhmatova, Anna, 138 (Wilde), 91 Aksenov, Vasilii (Vassily Aksyonov), Banksy (graffiti artist), Kissing 96, 98, 113–15, 153n4, 187nn Coppers wall stencil, 16 Akunin, Boris (pseudonym of Baraban, Elena, 15 Grigorii Chkhartishvili), 15, Baudelaire, Charles, 188n103 74–76, 84–88, 96, 171n22, Bawer, Bruce, 106 173–74nn Beardsley, Aubrey, 11, 122 All the Rage (Walters), 44 Beaudoin, Luc, 37, 131, 182n7 Almaznaia dolina Diamond Valley “Beauty” or “Russian Beauty” (Sadur), 164n28 (Nabokov), 132 Altman, Dennis, 6, 23, 39, 161n103 Becker, Kathrin, 129 And a Finn (Il’ianen), 96–98, 106 Belkin, A. I., 32 Andreeva, Ekaterina, 129 Bentham, Jeremy, 51 Andrei (magazine), 7, 46, 102 Berberova, Nina, 100–101, 183nn 204 index

Berdyaev, Nikolai (Berdiaev), 118, Bunin, Vera, 53–54 176n12 Burn, The (Aksenov), 153n4 Berger, John, 52 Bushuev, Dmitrii, 96–97, 102–3, Beria, Laventiia, 57 105–6, 110 Bersani, Leo, 160n89 “Business Proposal, A” (Sorokin), Bershtein, Evgenii, 93 131–32, 140–42 Beumers, Birgit, 61, 102 byliny (medieval Russian epic tales), Birch Tree, The (Kokker film), 27–28 50–51 bisexuality, 6, 10, 30–31, 34–35 blackmail, 73, 86, 174n97 “camp,” 126–29 Bleys, Rudi C., 5 Campbell, Thomas, 131 Bloch, Ivan, 19 capitalism, 41, 149, 176n12 Blok, Aleksandr, 92, 114, 122 “The Captive of the Caucasus” Blue Blood (Klimova), 127–29 (Makanin), 66–68, 96, 102, Blue Lard (Sorokin), 8, 132, 108, 115–16, 169nn 137–41, 150–51, 187nn castration, 56, 75, 166n55 Blue Noses (Mizin and Shaburov), censorship, 2, 43 16 Chaikovsky, Petr Iliich, 100–101, blue. See “gay” or “light blue” 183nn Bolshevik Revolution (October Chamberlain, Lesley, 94–95 1917), 3, 13, 20–21, 134, Chapaev, Vasilii Ivanovich, 143–44 156–57n9 Chauncey, George, Jr., 39, 156n9 Bogomolov, Nikolay, 11, 122 Chechnya, 66–68, 180n100 Borenstein, Eliot, 72 Cheremisinova, Mariia, 49–51 Boswell, John, 24–25, 33 Chernetsky, Vitaly, 2, 131, 186n63 Bowery, Leigh, 62, 64, 69, 168n78 Chernov, Andrei, 187n78 boys, endangered, 75–77, 79, 81, Chernyshevsky, Nikolai, 135 83 Childhood (Tolstoy), 140 Brande, Natalia, 72 Chkhartishvili, Grigorii, 96, 99. See Brennan, Timothy, 19 also Akunin, Boris Brezhnev, Leonid, 25 Christianity, 7, 93, 95, 97–98, Brigada (TV serial), 88 104–5, 182n141 Brodsky, Joseph, 142 Chuev, A. V., 46 Brothers Karamazov, The Chukhno, Valerii, 98 (Dostoevsky), 181n133 Chukovsky, Kornei, 91, 93, 175n8 Browning, Frank, 31 civil rights, 6, 15 Buddha’s Little Finger (Pelevin), Civil War, 143, 187n75 132, 142–44, 149, 189n113 closet, homosexual, 27, 29–30, 32, Buddhism, 5–6, 143 35, 47, 49, 145, 181n127 Budina, Olga, 53 detective fiction and, 74, 78–79, Bugaev, Sergei (“Afrika”), 131 88 Bukhanovskii, A. O., 38 political closet vs., 71–73 Bukharin, Nikolai, 39 soul and, 101–2 Buklin, Andrei, 72 Cohen, Stephen F., 24 Bunin, Ivan, 53–55 Cold War, 19–22 index 205

“combined development,” 22 Dialectics of a Period of Transition “coming out,” 72 (collection), 147–48 communism, collapse of, 94, 109 “Diary of a Madman” (Gogol), 147 compassion (sostradanie), 15–17, Dietrich, Marlene, 48 94–95, 106–9, 114, 118 disciplinary gaze, 14–15, 49, 51–69, consumerism, 6, 115 81, 168n78 Corber, Robert, 14, 60 Discipline and Punish (Foucault), 51 Coronation (Akunin), 15, 74–76, discrimination, 39 78–80, 84–88, 171n22 dissidents, 1, 71–72, 123, 133–35, Country of the Deaf (Todorskii film), 183n8, 186n63 168n78 Donstsenko, Viktor, 165n34 Cracks in the Iron Closet (Tuller), “Don’t Breathe Down our Asses” 158n33, 162n120 (Longo), 46 Cranin, Scott, 61 Dontsova, Dar’ia, 171n19 Creation of Adam, The (Pavlov Dostoevsky, Fyodor, 91–92, 95, film), 99, 101–3, 108–11 103–4, 115–16, 165n38, Crime and Punishment 176n12, 180n100, 181n133 (Dostoevsky), 91 double entendre, 72, 86–88 crime and criminality, 37, 44, doubling, 123, 132–33, 136–37, 71–75, 77, 172n43 139, 145–46, 148–49 Croce, Fernando, 61 Dovlatov, Sergei, 153n4 culture, vs. nature, 7 drag queen, 60–61, 63, 79 “culture-specific configurations,” 4 Drama of the Gifted Child, The (Miller), 187n74 dandyism, 50, 183n11 Duberman, Martin, 156n9 “Darling” (Ulitskaia), 96–97, 99, Dumenkov, V. N., 13 101–2, 116–18 Dashkova, Polina, 52 Early Homosexual Rights Movement, “deautomatization,” 131–32 The (Lauritsen and Thorstad), Debrianksaia, Evgeniia, 32, 38 20 decadence, 3, 75, 129, 154n14, East-West continuum, 5–7, 13–14, 172n27 19, 21–23, 25–26, 40–41 Declaration of Independence Russia at midpoint of, 30–34 (Mogutin), 10 Eastern Europe, 21–23 Decline of the West, The (Spengler), Easthope, Anthony, 171n20 126 economic conditions, 36, 41, 73–74 demographic decline, 75 Edelman, Leon, 3, 4, 48–49 De Profundis (Wilde), 91 Edelman, Mark, 71 D’Erasmo, Stacey, 35 Eifman, Boris, 101, 102 detective fiction, 15, 106, 148, Eikhenbaum, Boris, 122 171–75nn elite or “high” culture, 122–23, gender inversion and, 73–79 127–29 Oedipal triangles and, 79–81 Eltsyn, Boris, 5, 10, 144 other within and, 81–88 emasculation (humiliation), 2, 15, Diagelev, Sergei, 114, 123 52–55, 164–65n34, 166n52 206 index emigration, 5, 55, 113–14 Flynn, Moya, 174n104 Engelstein, Laura, 3, 21, 22, 116 foreigners, 2, 5–6, 27, 110, 113, England, 19, 123 118 English, as language of sexuality and Foucault, Michel, 25, 31, 43, 51, gender, 6 55, 63, 93, 184n19 Enikeeva, Dilia, 7, 9, 37, 43, 45, 47, Freud, Lucian, Leigh Bowery 49–51, 164n34 (Seated), 62, 64, 69, 168n78 Epoch of Clemency, The Freud, Sigmund, 23, 68, 74, 93, (photograph), 16 157n25 Era of Mercy (Vainer brothers), 16 Furmanov, Dmitrii, 143 Erkenov, Hussian, 62–63, 66 Erofeev, Andrei, 16 Garber, Marjorie, 35 Erofeev, Venedikt, 1 Garcia Marquez, Gabriel, 97 Erofeev, Viktor, 16, 62, 123, 129, Garden, The (Sadur), 164n28 131–32, 150 Gardner, Kevin, 29 Essig, Laura, 31–34, 36, 38–39, Gavrilov, Aleksandr, 127 159n83, 160n88, 161n103 gay and lesbian activism, 10, 12, 24, ethnic model of gay and lesbian 29–30, 35, 40–41, 44, 98, 115, identity, 35 181n125 Europe, 3, 22–23, 26, 94. See also gay and lesbian community West (subculture), 22–23, 35–36, 44 Eurovision song contest, 45 birth of, post-Soviet, 23, 28–31 excrement, 147 gay and lesbian identity, 6, 29–30, 32–37. See also identity “fag” (pidor), 5, 10 Western vs. Russian, 13–14, Fallowell, Duncan, 26–27, 33 26–31, 36 False Bottom (Toporov), 72 gay and lesbian literature, 10, 13 fascism, 38, 129–30, 185n44 gay and lesbian studies, 21 Father and Son (Sokurov film), gay liberation, 4, 13, 23–24 61–63, 66 “gay” or “light blue” (goluboi), 5, father-son relationship, 80–83 12, 72, 82, 87–89, 98, 127 female, 10, 31–32, 63, 65–66. See gay pride parade of 2006, 10, 45, 98 also lesbians; sexism Gays and Lesbians (Enikeeva), 46, masculine, 74, 76–78 164n34 as mediator between males, gender roles. See also spectacle- 79–80, 87 narrative hierarchy; and specific as spectacle, 14, 51–53 genders status of, 24, 39–40 active-passive model and, 37–41 femininity, 3, 78–79 anxiety over, and confusion of, in men, 8, 50 74–89, 164nn, 167n63, feminism, 22, 24, 35, 38, 62, 88, 171–72n25, 174nn 162n133 biology and, 33, 39 Fernandez, Dominque, 178n55 differences, collapse of, 47–49 fin-de-siècle, 125, 127, 129–30, disciplinary gaze and norms of, 140, 171n25, 183n11 50–51 index 207

inversion and, 50, 74, 176n12 Healey, Dan, 4–5, 20–22, 164n33 Generations of Winter (Aksyonov), heterosexuals and heterosexuality. 96–97 See also male, heterosexual “geography of perversity,” 4–7, 13, collectivism linked with, 134–36 22–23, 34, 40, 157n25 as natural and universal, 9, 22, German, Aleksei, 167n66 36–37 German, The (Sadur), 47–48 visibility of homosexuality and, Germany, 123 49, 52 Nazi, 53–55, 129–30, 138, Hidden from History (Duberman, et 185n44 al.), 156–57n9 Gessen, Masha, 30 History of the Decline and Fall of the Gibbons, Edward, 126 Roman Empire, The (Gibbons), Gide, André, 11 126 Gillespie, David, 131 Ginzburg, Lydiia, 183n8 His Wife’s Diary (Uchitel film), Gippius, Zinaida Nikolaevna, 10–11 53–55 Gift, The (Nabokov), 135 Hitler, 48, 54, 138 glasnost, 71 HIV/AIDS, 10, 29, 106, 113, “global gay,” 6, 13, 15, 22–23, 93, 184n19 119, 182n137 Hohn, Donovan, 20 globalization, 94 Hollywood films, 14, 52, 59–60, Goat Song (Vaginov), 125–26, 128, 166n47 185n33 homophobia, 10, 13, 25, 34, 41, Gogol, Nikolai, 103, 147, 165n38 47, 50, 72–73, 82, 161n118 Gold, Mitchell, 160n93 homophony, 147–48 Golubaia krov (Klimova), 72 Homosexual Desire in Revolutionary “Golubaia luna” (Moiseev song), 72 Russia (Healey), 5, 21 “Golubchik” (Ulitskaia), 72 homosexuality. See also active-passive Golubeva, I. V., 32 model; closet, homosexual; Goluboe salo (Sorokin), 72 gay and lesbian identity; goluboi. See “gay” or “light blue” gay and lesbian community; “Goluboi Onegin,” 49 “geography of perversity”; Golubye shineli (Brande), 72 homosocial vs. homosexual; Goscilo, Helena, 67, 115–16 identity; invisibility; latent Greece, ancient, 10, 129 homosexuality; panic, Greenberg, Richard, 167–68 homosexual; spiritual Grossman, Vasilii, 183n8 gulag system, 37 homosexual; visibility; and other Gurevich, Liubov’, 130, 185n44 specific concepts and terms alternative constructions of desire Hamlet (Kozintsev film), 57 and, 24–25, 35, 39 Hammer and Sickle (Livnev film), terms to describe, 6–7, 10, 55–60, 166–67nn 36–37, 72 Haraway, Dana, 33 Homosexualization of America Harper, Phillip Brian, 166n47 (Altman), 161n103 208 index homosocial bonds (homosociality), Keys to Happiness, The (Engelstein), 8, 10–12, 15, 28, 66–67, 73, 3, 21 79–89, 175n110 Kharitonov, Evegenii, 82, 92, 95, Honecker, Eric, 25 103–4, 150, 164n31, 181n127 “How Ivan Ivanovich Quarrelled Kholodov, Vladimir, 62 with Ivan Nikiforovich” Khrushchev, Nikita, 8, 19, 138, 150 (Gogol), 165n38 Khrustalev, My Car! (German film), “How I Wasn’t Raped” (Iarkevich), 167n66 46 kissing, male, 16, 25 Huysmans, Joris-Karl, 127 kitsch, 126, 128 Klein, Lev Samuilovich (“Lev Iarkevich, Igor’, 46 Samoilov”), 2, 37–38, 71–72, identity, 4, 23, 160n98. See also gay 170n6 and lesbian identity Klimontovich, Nikolai, 103–4, active-passive model and, 37–39 182n141, 185n33 fluidity of, vs. West, 27–33, 35, 48 Klimova, Marusia (pseudonym of homosexual, as essentializing, 93 Tatiana Kondratovich), 72, political vs. sexual, 71–72 127–28, 129 postmodernism and, 143 Kokker, Steve, 27–28, 35, 37–39 Identity Crisis (Gold), 160n93 Koliada, Nikolai, 96, 99, 102, identity politics, 32, 35, 110, 180n97 115–16 Komrades! (Kokker film), 28 Il’ianen, Aleksandr, 96–98, 106 Kon, Igor, 13, 31–32, 38, 43, 52, individualism, 3–4, 133–37 104, 156n7, 158n33, 161n118 In Search of Gay America (Miller), Kondratovich, Tatiana. See Klimova, 35 Marusia inversion, 123, 137, 140, 148–50 Kondratovich, Viacheslav, 127–28 invisibility, 1, 4, 14, 19–20, 43–52, Kovaleva, Ekaterina, 96–99, 102, 72. See also visibility 104–5, 118, 177–78n46 Isaev, Dmitrii, 32, 38, 40 Kozintsev, Grigorii, 57 Island of Crimea, The (Aksenov), Krutye naslednichki (Dontsova), 187nn 171n19 It’s Me—Eddie (Limonov), 26, Kulikova, Maia, 50, 165n38, 153n4 178–79n66 Iurovitsky, Vladimir, 39–41, 47, Kushlina, Ol’ga, 124 49–50, 88–89, 100–101, 115 Kuzmin, Mikhail, 11, 92, 113, 116, Ivanov, Nikita, 98 122–25, 180–81nn Ivanovich, Aleksandr, 98 Kuz’mina, L. I., 11 Ivan the Terrible, Tsar, 26 Kvir (magazine), 159n78

James, P. D., 88 Lacan, 52, 59 Jews, 16 Langlade, Jacques de, 176n8 Laputin, Evgenii, 123, 132 Kaganovsky, Lilya, 56–59 Larsen, Susan, 105, 166n53, Karlinsky, Simon, 20, 157n10 169n82 index 209

Last Testament of Oscar Wilde, The Malyshkin, Oleg, 1 (Ackroyd), 175–76n8 man-boy homosexuality, 117 latent homosexuality, 49–50, 93, Mandelstam, Osip, 138 116, 165n38, 176n12, 179n66 Marinina, Aleksandra, 15, 74–75, Lauritsen, John, 20, 157n10 77–84, 88, 106, 110, 171n22, Leavitt, David, 26, 33 172n43 Lenin, V. I., 129 Markov, Vladimir, 124 lesbians, 29–30, 41, 133–38, 150, marriage, heterosexual, 35, 49–50 166n47, 186n63 Marriage and the Family in liberalism, 3, 6, 41 Caucasia (Luzbetak), 25 Life and Times of Harvey Milk, The Marxism, 12 (film), 46 masculinity, 3, 8, 10, 33, 78, 129 Liminov, Eduard, 26, 38, 153n4 active-passive model and, 37–39 Lipovskaya, Olga, 22 “crisis of,” 2, 8, 10, 39, 62, 75, Lissyutkina, Larissa, 2, 163n20 77, 79–81, 88–89 Literaturnaia Gazeta (weekly), female and, 74, 76–78 19–20, 104 modern construction of, Livnev, Sergei, 55 175n110 local vs. global, 21, 93–94 masochism, 95, 103, 131 Lolita (Nabokov), 116, 132, materialism, 95, 109–12, 181n133 139, 145–46, 148, 150, medicine, 10, 20, 31–33, 45 188–89n103 “Medium and Author” (Ryklin), Longo, Iurii, 7, 46, 102 139 Love in a Time of Cholera (Garcia Men (Erofeev), 62 Marquez), 97 Mercury, Freddy, 184n19 Love of Evil (Veller), 155n27 Meshcherskii, Prince, 176n13 Love Without Borders (anthology), Michelangelo, Creation of Adam, 10, 13 99–100 Luzbetak, Louis, 25 Mikhail Kuzmin (Malmsted and Bogomolov), 11 magic, 102, 103 military, 27–28, 38, 62–68, Makanin, Vladimir, 66–68, 96, 102, 168–69nn, 170n3 108, 115–16, 169n92 Milk, Harvey, 46 male, heterosexual. See also Miller, Alice, 187n74 “passing” as heterosexual; Miller, D. A., 71, 73 masculinity; homosocial bonds Miller, Neil, 35 decline of post-Soviet, 4, 10, 16, mimesis, 123, 150 153n6, 166n53 minoritizing vs. universalizing disciplinary gaze and, 14–15, 49, model, 7, 68, 163n19 51–69, 81, 168n78 mirroring, 123, 137, 138–42, 146, homosexual seduction of, 8, 148, 182n7 38–39 “Mistaking Fantasy for vulnerability of, 8, 15, 47, 72–74, Ethnography” (Murray), 76–82, 163n19, 173n47 159n83 Malmsted, John, 11–12, 122 Mizin, Vyacheslav, 16 210 index modernity, 3, 6, 13–14, 21–22, 34, “Night Will Bust with Hail, and the 36, 41, 95, 109 Rain” (Bushuev), 102–3 false, 7, 40–41 Nikitin, V. A., 11 “Modnaia liubov” (Trendy Love, Nikonov, Aleksandr, 162n133 song), 7 NKVD (secret police), 57 Mogutin, Yaroslav, 10, 32, 37–38, No One Will Weep (Dashkova), 103, 115 52–53 Moiseev, Boris, 72, 98, 116 norms and normalcy, 3, 9, 15, Monroe, Vladik (Vladislav 39–40, 45, 51 Mamyshev), 128 nostalgia, 123–31 Moonlight at Dawn (Kon), 13 Novikov, Timur, 129, 130–31 Moronov, Evgenii, 54 Numbers (Pelevin), 12, 133, Morozova, Elena, 54 142–50, 189n113 Moscow Parade (film), 169m82 Nureev, Rudolf, 184n19 Moss, Kevin, 71, 156n7 Nuvel’, Val’ter, 113, 123 Most August Poet, The (Kuz’mina), 11 Oblomov (character), 50–51 Mukhina, Vera, Male Worker and Obraztsova, A. G., 92, 176n8 Female Collective Farm Laborer, Oedipal triangles, 79–81, 84 55–56 Olcott, Anthony, 73, 171nn Mulvey, Laura, 14, 52, 54, 59, 61, Old Petersburg (Pyliaev), 125 166n47 Omel’chenko, Olena, 174n104 Murray, Stephen O., 35, 159n83 “On Camp” (Sontag), 122 music, 99–101, 102, 117–18 “On Dandyism” (d’Aurevilly), 124 My Gay Friend (Kovaleva), 96–99, Onegin, Evgenii (Pushkin), 49–50 101–2, 104–5, 118 One Hot Summer in St. Petersburg My Meetings with Augustus Kiunits (Fallowell), 26–27 (Laputin), 132 One Hundred Days before the Myshkin, Prince (character), 104 Command (Erkenov film), “The Mystery of Chaikovsky’s Life 62–66 and Death” (Orlova), 101 open secret, 72, 126 Orlova, Aleksandra, 101 Nabokov, Vladimir Dmitrievich, 123 Orthodox Church, 118 Nabokov, Vladimir Vladimirovich, Oscar Wilde (de Langlade), 176n8 116, 123, 132–33, 135, Other, The (first collection of Russian 139–40, 144–50, 186n54, gay fiction), 2 188–89nn “other” and otherness, 2–3, 6, 73, Naiman, Eric, 12–13, 21 93 narcissism, 123, 136 “within us,” 73, 81–88 Nepomnyashchy, Catherine Other Love, The (Klein), 2, 72 Theimer, 171nn, 174n80 Other Petersburg, The (Rotikov), 2, Nets (Kuzmin), 92 13, 121, 124–26, 128, 165n38, New Academy artists, 8, 129–31 184n20 “New Russians,” 94, 111–13, 149 Other Side Shone, The (Klein), 2 Nicholas II, Tsar, 76, 80, 183n9 “Outcasts” (article), 106–7 index 211 outing, 49–51, 72 Plotnikova, Galina, 53–54 Out of the Blue (anthology), 156n7 Plummer, Ken, 21 “Poem Is Written, A” (Sedgwick), Paglia, Camille, 35 160n88 Pale Fire (Nabokov), 132, 147 Poetology (Trostnikov), 122 panic, homosexual, 15, 73–79, Poliakov, Iurii, 62, 63, 169nn 81–82, 84–88, 170n16 policing, of norms, 15, 68, 73, 88, Panopticon, 51, 63 89 parody, 8, 143, 148 political correctness, 9–10, 155n30 Pasolini, Pier Paolo, 188n84 polymorphous sexuality, 23, 33 “passing” as heterosexual, 8, 14, 29, Pontorno, Jacopo da, The Visitation, 46, 49, 51–52 92 passivity. See also active-passive Popov, Evgenii, 153n4, 181n127 model Popovskii, Mark, 1, 12, 44 of homosexual, 6, 164n33 pornography, 22, 28, 146, 150 redemptive suffering and, 103–4 Porter, Kevin, 131 of Russian male, 167n66 Poznansky, Aleksandr, 100–101 Russian, vs. West, 176n12 premodern, 23–25, 33–34, 41 stigmatized, 37–38 prison, 9, 37, 164–65n34, 170n3 Pasternak, Boris, 20, 136, 138 privacy, 12, 72 Pater, Walter, 122 Prokhorov, Alexander, 56, 57 patriarchal authority, 6, 41, 73–75, prostitute, 16, 83, 155n37 79–88, 154n16, 171n22 psychoanalysis, 12, 23, 95, 170n16, Pavlov, Iurii, 99 Pelevin, Viktor, 12, 15–16, 123, 171n20 129, 131–33, 142–50, psychopathology, 73–74, 80 189–9nn Pugacheva, Alla Borisovna, 116 Penguin Book of International Gay Pushkin, Aleksandr, 126–27 Writing, The, 26 Putin, Vladimir, 3, 10, 13, 98 People of the Moonlight (Rozanov), Pyliaev, Mikhail Ivanovich, 125 7, 48, 93, 145, 164n27, 165n38 “queer” perestroika, 1, 2, 95, 109, 171n18 Russia imagined as, 8, 31–33, perversions, 15, 131, 149 38–39, 41 Pesman, Dale, 15, 94–95, 98–99, Russian term “kvir” and, 6 101, 109 Queer Geography, A (Browning), 31 Pesn’ golubogo marlina (Buklin), 72 “queering,” 8, 129 Peterson, Dale E., 91 Queer in Russia (Essig), 31–33, Petronius, 128 160n88 Petrov, Georgii, 91 queer theory, 32–33, 35–36, Petrovna, Dimitrina, 24, 41 160n89 Petrovsky, Mikhail, 124 Pilkington, Hilary, 7, 39, 94 Rancour-Laferrier, Daniel, 15, 95, Pleshakov, Konstantin, 96, 101, 103 111–13 rape, 97, 135 212 index

male-male, 8–9, 52–53, 164– geography of perversity and, 5, 65n34, 167n66, 172n43 22–23 Reagan, Ronald, 19 “innocent,” 22, 33–34 realism, literary, 16, 123, 138, literary canon of, 49–51, 103, 141–51 165n38, 178–79n66 Real Life of Sebastian Knight, The prerevolutionary tsarist, 4, 16, 20, (Nabokov), 144, 148, 188n99 76, 123–31, 183n10 Red and the Black, The (Stendhal), as queer Other of West, 2–3, 134–35 13–14, 23–24, 29, 34–36 Red Wheel, The (Solzhenitsyn), 134 scholarship in, 10, 31 Religion of Beauty and Suffering, soul and, 92–109 The (Abramovich), 91–92 traditional culture of, 6, 17, repression, 20, 40–41, 43, 72–73, 92–118 142 Russia and Soul (Pesman), 94 “repressive hypothesis,” 43, 51 Russian Beauty (Erofeev), 132 reproduction, 6, 75, 123, 140, Russian identity (“Russianness”), 147–48, 164n27 3–4, 9–10, 15, 16, 27, 106–7 “The Reservoir” (Popov), 153n4 Russian Pulp (Olcott), 73 “Revisionism Revised” (Karlinsky), Ryklin, Mikhail, 139 20 Rylkova, Galina, 132 “A Rich Plotline” (Pleshakov), 96, 101, 111–13 Sade, Marquis de, 147, 188n84 Ries, Nancy, 106 Sadur, Nina, 47–49, 95, 164nn “The Rights of Men” (Erofeev), 62 St. George and dragon, 65, 66 Rimsky-Korsakov, 26 St. Petersburg, 2, 26, 32, 36, 124, Robinson, Harlow, 37, 46 146 Rofel, Lisa, 4 St. Sebastian, 11, 112–13 Roizman, Evgenii, 45 “Saint Sebastian, The Martyr” (K. Roll, Serafima, 141, 188n93 R.), 11 Romanov, Konstantin Salecl, Renata, 170n16, 171n18 Konstantinovich (K. R.), Salo (Pasolini film), 188n84 11–12, 125, 183n10 Same-Sex Unions in Pre-Modern Romanov dynasty, 74–76, 171n22 Europe (Boswell), 24 Rome, ancient, 10, 126, 128–29 Samochvalov, Aleksandr, 129–30 Rotikov, K. K. (pseudonym), 13, Samoilov, Lev. See Klein, Lev 124–29, 183n10, 184n19 Samuilovich Rotikov, Kostia, 165n38 Samov, 113 Rotkirch, Anna, 43 San Francisco, 23, 34–35 Rozanov, Vasilii, 7, 48, 93, 97, 104, Satyricon (Petronius), 128 116, 145, 164n27, 165n38, Scheherazade (Rimsky-Korsakov), 26 176nn Schluter, Daniel P., 23–24, 34 Russia. See also Soviet Union Schmid, Ulrich, 131 as alternative modernity, 5–6, Schneebaum, Tobias, 159n83 22–23, 109–18 Schwarzenegger, Arnold, 143, 144 index 213 secrecy, 71–73, 101, 145, 148–49, Slavophile vs. Westernizer debate, 181n127 137 Sedgwick, Eve Kofovsky, 7, 52, 68, Slingshot (Koliada), 96, 99, 101–2, 73, 160n88, 175n110 105, 107–8, 110 seeing, knowing vs., 14, 44, 51, 62, Slovenko, Ralph, 44 68 Smejkalova-Strickland, Jirina, 41 self-referentiality, 122–23, 132, Smirnov, Andrei, 53 136–37, 140–42, 149–50 Socialist Realism, 123, 141–42, Semenenko, Aleksei, 57 188n93 Serdiuchka, Verka, 45 Sokurov, Aleksei, 61–63, 66 Serebriakov, Aleksei, 55 Solomon, Andrew, 129 serial murderer, 73, 80, 82, 106, Solzhenitsyn, Aleksandr, 20, 110 133–34, 136, 183n8 sex roles. See also active-passive Somov, Konstantin, 123 model; gender roles Sontag, Susan, 122, 128 aligned with gender, 52, 56, Sorokin, Vladimir, 8, 15–16, 72, 59–60 123, 129, 131–42, 147, fluidity of, 161n103 149–51, 187nn, 188n84 sex-change surgery, 32, 55–57 “Sots-Art” exhibit, 16–17 Sex in Public (Naiman), 12–13, 21 soul (dusha), 15, 92–95, 98–103, sexism, 38–41, 161n118, 162n120 177n34, 182n137 sexophobia, 4, 10–11, 19, 40, politics and, 103–19 155n23, 156n7, 181–82n137, South (Sadur), 164n28 183n10 Soviet Civilization (Sinyavsky), 118 sex tourism, 27, 41 Soviet Union, 12, 21, 25, 94, 129, sexual acts, vs. spiritual 133–34, 137, 142–43, 156n9 homosexuality, 8, 116–18, crime and, 43–44, 71–74 181–82nn disciplinary gaze of, 55–59 sexuality, discussion of, 4, 10–12, fall of, 10, 13, 22–23, 74, 88, 22–23. See also sexophobia 126 Sexual Life in England Past and invisibility in, 1, 19–20, 72 Present (Bloch), 19 spectacle-narrative (diegesis) Sexual Pathology (Enikeeva), 9, 37 hierarchy, 14, 51–52, 59–60 Sexual Revolution in Russia, The reversed, 14, 52–69 (Kon), 31 Spengler, Oswald, 2, 126 Shaburov, Alexander, 16 spiritual homosexuality, 3, 5, 65, Shapoval, Sergei, 138 92–93, 97, 102–3, 110–11, Shmakov, Gennadii, 184n19 115–16, 122, 165n38, 182nn Shneidman, N. N., 131 sex-affirming vs., 119 Silver Age, 3, 10, 11–12, 15, 92, “true” homosexuality vs., 7–8 113–14, 122–31, 180–81n123, Stalin, 8, 57–59, 138, 150 182n7, 183n10 Stalinism, 20, 59, 129 Silverman, Kaja, 52 Stendhal, Henri, 134 Sinfeld, Alan, 72 Stimorol Pro-Z gum commercial, Sinyavsky, Andrei, 118 60–61, 63 214 index

“Story of a Boy, The” (Kharitonov), Tsvetaeva, Marina, 95, 177n34 82 Tsyganova, Vika, 45 Stylist, The (Marinina), 15, 74–75, Tukh, Boris, 121 77–84, 86–88, 106, 110, Tuller, David, 23, 28–36, 38, 44, 171n22, 173n47, 174–75n106 158n33, 161n103, 162n120 stylization, 124–25, 129, 130 Turgenev, 165n38 sublimation, 93, 116 Tyunina, Galina, 53 suffering, 15, 17, 91–98, 100, 103–8, 118–19 Uchitel, Aleksei, 53 suicide, 59, 96, 101 Ulitskaia, Liudmila, 72, 96–97, 99, “Sunny Day at the Seaside, A” 116–18 (Yasinsky), 99 United States, 4, 6, 23, 34–35, “superfluous men,” 103 40, 55, 113–15, 117–18, 26, Superfluous Third, The (Popovskii), 154n14, 160n93, 162n133, 12 174n104 superstition, 144, 148 Uvorov, Sergei Semenovich, 126 surveillance, 51, 62–66, 72 suspicion, 15, 72–74, 81–89, 148 Vaginov, Konstantin Sviadoshch, A. M., 45 Konstantinovich, 125–28, 184nn, 185n33 Tadzhuddin, Talgat, 45 Vainer brothers, 16 Take Me Out (Greenberg), Vasiliev, Georgii and Sergei, 143 167–68n70 Veller, Mikhail, 155n27 Taruskin, Richard, 100–101, 123 Vicinus, Martha, 156n9 Tchaikovsky. See Chaikovsky, Petr Viktiuk, Roman, 105 Iliich violence Tchaikovsky (Eifman ballet), 101–2 Terapiano, Iurii, 10–11 American homosexuality and, 117 Thirtieth Love of Marina (Sorokin), vs. homosexuals, 28, 34, 39, 82 132, 133–38, 141, 150 Vishevsky, Anatoly, 6, 73–74, 131, Thompson, Graham, 51 154, 171n22 Thorstad, David, 20, 157n10 visibility, 14, 23, 29, 36, 44–52, Tikhomirov, Sergei, 3 68–69, 72, 123–24. See also Todorskii, Valerii, 168n78 disciplinary gaze; invisibility tolerance, 6, 94, 98, 104, 115 visual economy, 59–62, 67–68, Tolstaia, Tat’iana, 121–22, 124 166n47 Tolstoy, Lev, 139–40, 165n38 Vitkovskii, Evgenii, 115 Toporov, Viktor, 72, 170n6 Voronin, Alexander, 107 transsexualism, 31–33, 38, 162n120 transvestites, 45 Wagner, Richard, 117 Trifonov, Genadii, 95 Walters, Suzanna, 44 Tristan and Isolde (Wagner), 117 West Trofimenkov, Mikhail, 127 development, modernity and Trostnikov, M. V., 122 decadence in, 2, 5–7, 13–14, Trotsky, Leon, 22 20–22, 31, 41, 44, 176n12 index 215

homosexual rights and attitudes Wonderous Signs of Salvation in, 6, 31–32, 40, 115, 117. (Sadur), 164n28 See also “global gay” Writer and Suicide, the (Akunin), 96 Russia as queer Other of, 2–3, 13, Writer’s Diary, A (Dostoevsky), 95 23–24, 35–36 Russian soul vs., 92–95, 109–18 Yasinsky, Vitaly, 99 We (Zamiatin), 187n82 Yeltsin, Boris. See Eltsyn What Is To Be Done? You I Love (film), 5–6 (Chernyshevsky), 135 youth, corruption of, 14, 50–51. See White, Dan, 46 also boys White, Edmund, 30 Who Resembles the Harlequin Zamiatin, Evgenii, 187n82 (Bushuev), 96–97, 99, 101, Zapreshchennye Barabanshchiki 103, 105–7, 110 (Forbidden Drum rock group), Wierzbicka, Anna, 4, 15, 94–95, 7 103 Zhirinovsky, Vladimir, 39–41, 47, Wilde, Oscar, 88, 91–93, 98, 115, 49–50, 88–89, 100–101, 115 122, 124, 129–30, 175–76n8, Zhuk, Olga, 37 181n123 Ži_ek, Slavoj, 59, 170n16 Williams, Robert C., 15 Zolotonosov, Mikhail, 121 Wings (Kuzmin), 116–17, 124, 127, Zone, The (Dovlatov), 153n4 181n133 Zoshchenko, Mikhail, 103 Wolfe, Elizabeth, 24 Zverev, Aleksei, 175n8 Wolff, Jeffrey, 22 Zyven’evaia, A. A., 43