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RUSSIAN and AMERICAN DETECTIVE FICTION and THRILLERS of the 1990S by MA, Central Europ

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RUSSIAN and AMERICAN DETECTIVE FICTION and THRILLERS of the 1990S by MA, Central Europ RUSSIA IN THE PRISM OF POPULAR CULTURE: RUSSIAN AND AMERICAN DETECTIVE FICTION AND THRILLERS OF THE 1990s by ELENA V. BARABAN M.A., Central European University, 1997 A thesis submitted in partial rulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Programme in Comparative Literature) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA July 2003 © Elena V. Baraban, 2003 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Co M/Xt rtf/V* <6/W^ The University of British Columbia Vancouver, Canada DE-6 (2/88) 11 ABSTRACT The subject matter of my study is representations of Russia in Anglo-American and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable for representing the world split between good and evil, these genres played a prominent role in constructing the image of the other during the Cold War. Crime fiction then is an important source for grasping the changes in representing Russia after the Cold War. My hypothesis is that despite the changes in the political roles of Russia and the United States, the end of the Cold War and the demise of the Soviet Union continued to have a significant impact on popular fiction about Russia in the 1990s. A comparative perspective on depictions of Russia in the 1990s is particularly suitable in regard to American and Russian popular cultures because during the Cold War, Soviet and American identities were formed in view of the other. A comparative approach to the study of Russian popular fiction is additionally justified by the role that the idea of the West had played in Russian cultural history starting from the early eighteenth century. Reflection on depictions of Russia in crime fiction by writers coming from the two formerly antagonistic cultures poses the problem of representation in its relationship to time, history, politics, popular culture, and genre. The methods used in this dissertation derive from the field of cultural studies, history, and structuralist poetics. A combination of structuralist readings and social theory allows me to uncover the ways in which popular detective genres changed in response to the sentiments of nostalgia and anxiety about repressed or lost identities, the sentiments that were typical of the 1990s. My study of Anglo-American and Russian spy novels, mysteries, and action thrillers contributes to our understanding of the ways American and Russian cultures invent and reinvent themselves after a significant historical rupture, how they mobilize the past for making sense of the present. Drawing on readings of literature and culture by such scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen, Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and Russian representations of Russia are a result of cultural asymmetries and cultural chronotopes in the United States and in Russia. I argue that Russian and American crime fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and historical sensibilities after the end of the Cold War and the fall of the Soviet Union. Memories of the Cold War and coming to terms with the end of the Cold War played a defining role in depicting Russia by Anglo-American detective authors of the 1990s; this role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly, reconsideration of Russian history became an essential characteristic in the development of the new Russian detektiv. iii TABLE OF CONTENTS ABSTRACT ii TABLE OF CONTENTS iii DEDICATION vi EPIGRAPH vii ACKNOWLEDGMENTS viii INTRODUCTION The Shadows of the Past 1 After 1991 1 Changing Popular Cultures 10 Cultural Asymmetry 24 The Chronotope of Culture 36 Genres: Asymmetry and Parallels 49 PARTI THE COLD WAR IN TWILIGHT 56 CHAPTER I A Farewell to Arms: Spy Novels about Russia after the Cold War 58 Dealing with the End of the Cold War? 5 8 Remembering the Cold War 62 Disenchanted Spies 72 Rethinking the CIA in Thrillers about Russia 78 Falling out of the Picture 94 CHAPTER II A Cold You Just Can't Shake: The Return of the Cold War in Thrillers of the 1990s 96 Will We Ever Have Enough of the Cold War? 96 The Legacy of the Soviet Union: Corruption and Crime 101 Identifying Russianness: Retro-Communism and Nationalism 107 The Heirs of Stalin 119 A Farewell to Russia 126 iv CHAPTER III Russian Protagonists in American Mysteries 131 The Good Russian: the Cultural Evolution of the Image 131 Coping with Collapse 139 Dealing with Nationalism 143 Anti-Semitism 146 Slices of Pizza 148 PART II RE-WRITING RUSSIA: RUSSIAN CRIME FICTION OF THE 1990s 155 CHAPTER IV Tough Guys in Rough Times: Literature of the Bespredel 158 Russian Crime Fiction and the Bespredel 158 The ' Truth' About Russia 171 A Noble Criminal 180 A Post-Soviet Life of Soviet Warriors 185 Sexual Politics in Krutye Detektivy 195 CHAPTER V A Little Nostalgia: The Detective Novels of Alexandra Marinina 207 Old Songs about the Main Things 207 A Mystery ofthe 1990s 213 Romanticizing the Inconspicuous 221 Good Comrade Nastia 225 "Owr People Do Not Take a Cab to Go to a Bakery" 228 To the Radiant Past 232 CHAPTER VI The Country Resembling Russia: The Use of History in Boris Akunin's Detective Novels 235 Enter Akunin 235 Akunin and the Debate on Russian History 239 Akunin's Historical Projections 243 Virtual Russia 257 CONCLUSION Carting Away History 267 V What is in the End? 267 A Lesson of History 269 The Motif of Uncertainty 275 Nostalgia for the Radiant Past 277 BIBLIOGRAPHY 280 vi To my family Vll Human experiences are infinitely varied. What is surprising about this is not that untranslatable feelings and uncommunicable specificities remain, but, on the contrary, that - provided one is willing to pay the price - we can manage to communicate and understand one another, from one being to another, one culture to another. That there is misunderstanding goes without saying; but understanding does exist, and it is this understanding that needs explaining. Things are not universal, but concepts can be: one must simply not confuse the two so that the road to a shared meaning may remain open. - Tzvetan Todorov (The Morals of History) Vlll ACKNOWLEDGMENTS A friend once told me that it is wonderful to feel underfoot the path we were intended to follow. Finishing my dissertation this summer filled me with a sense of joy about covering a good portion of the trek. It also gave me a sense of having glimpsed what I would still like to do in the future, and understanding of what had tied my efforts and experiences together at different stages of my life. I am deeply thankful to everyone who has helped me stay on track during this journey, which has involved crossing continents, emotional and intellectual challenges, and much thinking about the different cultures to which I belong. Dr. Steven Taubeneck gave valuable feedback on the proposal at an early stage and continued on through the long life of this project as my supervisor. His constructive criticisms have kept me engaged with my work. Steven has also been helpful in ferreting out administrative details and deadlines. Dr. Anne Gorsuch, a co-supervisor of this dissertation, has provided me with a wonderful example of scholarly rigor. I am sincerely grateful for Anne's comments on my work, her thought-provoking questions, and encouragement to introduce more historical details in my analysis. More importantly, Anne has radiated calm and wisdom; she has become a person whose voice I keep within myself even when she is not around. It has been a pleasure to learn from Dr. Jerald Zaslove, whose contribution to my progress was not only formally academic, but was deeply rooted in his personal commitment to the human sciences. His vision of literature, society, and culture, which Jerry so generously shares with his students, will provide inspiration for my work in the future. My special thanks go to my colleagues and friends who commented on portions of the manuscript: Andreas Heinemann-Griider, Serguei Oushakine, Mark Lipovetskii, Serhy Yekelchik, and Jeremy Dwyer. I would also like to thank Eliot Borenstein, the external examiner of this dissertation, for his sensitive reading and his valuable comments on my work. I owe a special debt of gratitude to Monica Whyte, David Thatcher, and Ben Ellison who helped edit this dissertation. Ben Ellison's wit, friendship, and contagious optimism have considerably eased the last stages of my work on the thesis. I am also thankful to Lidia and Mikhail Zykov who helped me find video materials, which I used in preparing the thesis. Above all, I would like to thank my family for their unconditional love, unflagging support, and patience. 1 Introduction THE SHADOWS OF THE PAST 1. AFTER 1991 It is now more than ten years since Russia and the United States entered a new historical period.1 The Cold War is an event of the past. In the book We Now Know: Rethinking Cold War History (1997), John Lewis Gaddis describes the Cold War as an ideological contest between capitalism and communism, democracy and authoritarianism; a division of the world into two hostile camps; a competition for influence over the Third World (21-22).
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