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I Was First Assigned to the American Embassy in Moscow in 1961
Remembering Vasya Aksyonov With Bella Akhmadulina and Vasily Aksyonov Photo by Rebecca Matlock I was first assigned to the American Embassy in Moscow in 1961. This was when the “Generation of the Sixties” (шестидесятники) was beginning to rise in prominence. It was an exciting development for those of us who admired Russian literature and were appalled at the crushing of creativity brought on by Stalin’s enforced “socialist realism.” I read Vasya’s Starry Ticket with great interest, particularly since it seemed to deal with the same theme as the American writer J.D. Salinger did in his The Catcher in the Rye—a disaffected adolescent who runs away from humdrum reality to what he imagines will be a more glamorous life elsewhere. I then began to follow the stories Vasya published in Yunost’. “Oranges from Morocco” was one that impressed me. Much later, he told me that the story was inspired by an experience while he was in school in Magadan. The original title had been “Oranges from Israel.” He was instructed to replace Israel with Morocco in the title after the Soviet Union broke relations with Israel following the 1967 war. Although I was a young diplomat not much older than Vasya, my academic specialty had been Russian literature and I was eager to meet as many Soviet writers as possible. In fact, one of the reasons I entered the American Foreign Service was because it seemed, while Stalin was still alive, one of the few ways an American could live for a time in the Soviet Union and thus have direct contact with Russian culture. -
Introduction to Russian Poetry - Michael Wachtel Excerpt More Information
Cambridge University Press 0521004934 - The Cambridge Introduction to Russian Poetry - Michael Wachtel Excerpt More information Introduction Поэ´т – издaлeкa´ зaво´дит рe´чь. Поэ´тa – дaлeко´ зaво´дит рe´чь. цвeтaeвa, «Поэ´ты» The poet brings language from afar. Language brings the poet far. Tsvetaeva, “Poets” When poets read their works aloud, we may not understand every word, but we immediately recognize that their intonation differs from that of everyday speech. This “unnatural” declamation often causes confusion among those who first encounter it. “Why don’t they just read it normally?” one is tempted to ask. The reason is simple: poets want to set their speech off from everyday language. Individual poets vary widely in the degree of “unnaturalness” they introduce to their readings, but in virtually all cases their goal is the same: to destabilize the familiar world of their listeners, to make them hear anew. All of us, poets or not, alter our tone of voice and choice of words in accordance with specific circumstances. We speak differently with our par- ents than with our peers, we address the auto mechanic differently than the policeman, we speak differently when giving a toast than we do when calling for an ambulance. In many life situations, what might be called the prosaic attitude toward language dominates. Our object is to relay information as quickly and unambiguously as possible. At other times, getting the point across is not enough; it is essential to do so convincingly and fervently. We select our words carefully and consciously organize them. In this case, we are not necessarily creating poetry, but it is fair to say that we are moving in the direction of poetry. -
Poetry Sampler
POETRY SAMPLER 2020 www.academicstudiespress.com CONTENTS Voices of Jewish-Russian Literature: An Anthology Edited by Maxim D. Shrayer New York Elegies: Ukrainian Poems on the City Edited by Ostap Kin Words for War: New Poems from Ukraine Edited by Oksana Maksymchuk & Max Rosochinsky The White Chalk of Days: The Contemporary Ukrainian Literature Series Anthology Compiled and edited by Mark Andryczyk www.academicstudiespress.com Voices of Jewish-Russian Literature An Anthology Edited, with Introductory Essays by Maxim D. Shrayer Table of Contents Acknowledgments xiv Note on Transliteration, Spelling of Names, and Dates xvi Note on How to Use This Anthology xviii General Introduction: The Legacy of Jewish-Russian Literature Maxim D. Shrayer xxi Early Voices: 1800s–1850s 1 Editor’s Introduction 1 Leyba Nevakhovich (1776–1831) 3 From Lament of the Daughter of Judah (1803) 5 Leon Mandelstam (1819–1889) 11 “The People” (1840) 13 Ruvim Kulisher (1828–1896) 16 From An Answer to the Slav (1849; pub. 1911) 18 Osip Rabinovich (1817–1869) 24 From The Penal Recruit (1859) 26 Seething Times: 1860s–1880s 37 Editor’s Introduction 37 Lev Levanda (1835–1888) 39 From Seething Times (1860s; pub. 1871–73) 42 Grigory Bogrov (1825–1885) 57 “Childhood Sufferings” from Notes of a Jew (1863; pub. 1871–73) 59 vi Table of Contents Rashel Khin (1861–1928) 70 From The Misfit (1881) 72 Semyon Nadson (1862–1887) 77 From “The Woman” (1883) 79 “I grew up shunning you, O most degraded nation . .” (1885) 80 On the Eve: 1890s–1910s 81 Editor’s Introduction 81 Ben-Ami (1854–1932) 84 Preface to Collected Stories and Sketches (1898) 86 David Aizman (1869–1922) 90 “The Countrymen” (1902) 92 Semyon Yushkevich (1868–1927) 113 From The Jews (1903) 115 Vladimir Jabotinsky (1880–1940) 124 “In Memory of Herzl” (1904) 126 Sasha Cherny (1880–1932) 130 “The Jewish Question” (1909) 132 “Judeophobes” (1909) 133 S. -
Nostalgia and the Myth of “Old Russia”: Russian Émigrés in Interwar Paris and Their Legacy in Contemporary Russia
Nostalgia and the Myth of “Old Russia”: Russian Émigrés in Interwar Paris and Their Legacy in Contemporary Russia © 2014 Brad Alexander Gordon A thesis presented in partial fulfillment of the requirements for completion Of the Bachelor of Arts degree in International Studies at the Croft Institute for International Studies Sally McDonnell Barksdale Honors College The University of Mississippi University, Mississippi April, 2014 Approved: Advisor: Dr. Joshua First Reader: Dr. William Schenck Reader: Dr. Valentina Iepuri 2 Table of Contents Acknowledgements……………………………………………………………………p. 3 Part I: Interwar Émigrés and Their Literary Contributions Introduction: The Russian Intelligentsia and the National Question………………….............................................................................................p. 4 Chapter 1: Russia’s Eschatological Quest: Longing for the Divine…………………………………………………………………………………p. 14 Chapter 2: Nature, Death, and the Peasant in Russian Literature and Art……………………………………………………………………………………..p. 26 Chapter 3: Tsvetaeva’s Tragedy and Tolstoi’s Triumph……………………………….........................................................................p. 36 Part II: The Émigrés Return Introduction: Nostalgia’s Role in Contemporary Literature and Film……………………………………………………………………………………p. 48 Chapter 4: “Old Russia” in Contemporary Literature: The Moral Dilemma and the Reemergence of the East-West Debate…………………………………………………………………………………p. 52 Chapter 5: Restoring Traditional Russia through Post-Soviet Film: Nostalgia, Reconciliation, and the Quest -
Soviet Jewry (8) Box: 24
Ronald Reagan Presidential Library Digital Library Collections This is a PDF of a folder from our textual collections. Collection: Green, Max: Files Folder Title: Soviet Jewry (8) Box: 24 To see more digitized collections visit: https://reaganlibrary.gov/archives/digital-library To see all Ronald Reagan Presidential Library inventories visit: https://reaganlibrary.gov/document-collection Contact a reference archivist at: [email protected] Citation Guidelines: https://reaganlibrary.gov/citing National Archives Catalogue: https://catalog.archives.gov/ Page 3 PmBOMBR.S OP CONSCIBNCB J YLADDllll UPSIDTZ ARRESTED: January 8, 1986 CHARGE: Anti-Soviet Slander DATE OF TRIAL: March 19, 1986 SENTENCE: 3 Years Labor Camp PRISON: ALBXBI KAGAllIIC ARRESTED: March 14, 1986 CHARGE: Illegal Possession of Drugs DATE OF TRIAL: SENTENCE: PRISON: UCHR P. O. 123/1 Tbltsi Georgian, SSR, USSR ALEXEI llUR.ZHBNICO (RE)ARRBSTBD: June 1, 1985 (Imprisoned 1970-1984) CHARGE: Parole Violations DA TB OF TRIAL: SENTENCE: PRISON: URP 10 4, 45/183 Ulitza Parkomienko 13 Kiev 50, USSR KAR.IC NBPOllNIASHCHY .ARRESTED: October 12, 1984 CHARGE: Defaming the Soviet State DA TB OF TRIAL: January 31, 1985 SENTENCE: 3 Years Labor Camp PRISON: 04-8578 2/22, Simferopol 333000, Krimskaya Oblast, USSR BETZALBL SHALOLASHVILLI ARRESTED: March 14, 1986 CHARGE: Evading Mllltary Service DA TE OF TRIAL: SENTENCE: PRISON: L ~ f UNION OF COUNCILS FOR SOVIET JEWS 1'411 K STREET, NW • SUITE '402 • WASHINGTON, DC 2<XX>5 • (202)393-44117 Page 4 PIUSONB'R.S OP CONSCIBNCB LBV SHBPBR ARRESTED: -
Toronto Slavic Quarterly. № 33. Summer 2010
Michael Basker The Trauma of Exile: An Extended Analysis of Khodasevich’s ‘Sorrentinskie Fotografii’ What exile from himself can flee Byron1 It is widely accepted that the deaths in August 1921 of Aleksandr Blok and Nikolai Gumilev, the one ill for months and denied until too late the necessary papers to leave Russia for treatment, the other executed for complicity in the so-called Tag- antsev conspiracy, marked a practical and symbolic turning point in the relations between Russian writers and thinkers and the new regime. In the not untypical assessment of Vladislav Khoda- sevich’s long-term partner in exile, Nina Berberova: …that August was a boundary line. An age had begun with the ‘Ode on the Taking of Khotin’ (1739) and had ended with Au- gust 1921: all that came afer (for still a few years) was only the continuation of this August: the departure of Remizov and Bely abroad, the departure of Gorky, the mass exile of the intelligent- sia in the summer of 1922, the beginning of planned repres- sions, the destruction of two generations — I am speaking of a two-hundred year period of Russian literature. I am not saying that it had all ended, but that an age of it had.2 © Maichael Basker, 2010 © TSQ 33. Summer 2010 (http://www.utoronto.ca/tsq/) 1 From ‘To Inez’, song inserted between stanzas lxxiv and lxxxv of Canto 1 of Childe Harold’s Pilgrimage. To avoid undue encumbrance of the extensive crit- ical apparatus, works of nineteenth and twentieth-century poetry by authors other than Khodasevich will generally be identified by title or first line, and cited without reference to the standard academic editions from which they have been taken. -
Download Free Sampler
Thank you for downloading this free sampler of: FIFTY-FIVE YEARS WITH RUSSIA MAGNUS LJUNGGREN Series: Studies in Russian and Slavic Literatures, Cultures, and History Paperback | $25.00 | October 2016 | 9781618115386 | 102 pp. ; 8 b&w illus. ; 7 color illus. SUMMARY The academic career of internationally recognized Professor of Slavic Studies Magnus Ljunggren spans more than a half century. Here he looks back over his meetings with prominent members of the Russian intelligentsia who from the liberalizing XXII Party Congress in 1961 and down to the present have in various forms struggled with the totalitarian structures of Soviet and post- Soviet society. As a literary scholar Ljunggren has focused on Andrei Bely’s novel Petersburg, Russian Symbolism and Russian Silver Age literature and culture. His memoirs reflect on how his study of Symbolism and his commitment to the Russian civil rights movement over the years have stimulated each other and contributed to a deeper understanding of Russia’s distinctive character. Ljunggren’s gallery of intimate and colorful portraits of prominent cultural figures includes Bulat Okudzhava, Yevgeny Yevtushenko, Joseph Brodsky, Viktor Shklovsky, Lidia Chukovskaya, and Nina Berberova. ABOUT THE AUTHOR Magnus Ljunggren defended his doctoral thesis, “The Dream of Rebirth: A Study of Andrej Belyj’s Novel Peterburg,” at Stockholm University in 1982. He is presently professor emeritus of Russian language and literature at the University of Gothenburg. His most important monograph is The Russian Mephisto: A Study of the Life and Work of Emilii Medtner (1994). PRAISE “Magnus Ljunggren’s history allows us to revisit many lesser-known chapters from the cultural history of Russia’s twentieth century. -
Mark Alan Smith Formatted Dissertation
Copyright by Mark Alan Smith 2019 The Dissertation Committee for Mark Alan Smith Certifies that this is the approved version of the following Dissertation: To Burn, To Howl, To Live Within the Truth: Underground Cultural Production in the U.S., U.S.S.R. and Czechoslovakia in the Post World War II Context and its Reception by Capitalist and Communist Power Structures. Committee: Thomas J. Garza, Supervisor Elizabeth Richmond-Garza Neil R. Nehring David D. Kornhaber To Burn, To Howl, To Live Within the Truth: Underground Cultural Production in the U.S., U.S.S.R. and Czechoslovakia in the Post World War II Context and its Reception by Capitalist and Communist Power Structures. by Mark Alan Smith. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May, 2019 Dedication I would like to dedicate this work to Jesse Kelly-Landes, without whom it simply would not exist. I cannot thank you enough for your continued love and support. Acknowledgements I would like to thank my dissertation supervisor, Dr. Thomas J. Garza for all of his assistance, academically and otherwise. Additionally, I would like to thank the members of my dissertation committee, Dr. Elizabeth Richmond-Garza, Dr. Neil R. Nehring, and Dr. David D. Kornhaber for their invaluable assistance in this endeavor. Lastly, I would like to acknowledge the vital support of Dr. Veronika Tuckerová and Dr. Vladislav Beronja in contributing to the defense of my prospectus. -
Catastrophes in the Air 1 Joseph Brodsky
1 Catastrophes in the Air 1 Joseph Brodsky Il y a des rem`edes `ala sauvagerie primitive; li n’y en a point `ala manie de paraˆıtre ce qu’on n’est pas. Marquis de Custrine, Lettres de Russie 1 Because of the volume and quality of Russian fiction in the nineteenth century, it’s been widely held that the great Russian prose of that century has auto- matically, by pure inertia, wandered into our own. From time to time, in the course of our century, here and there one could hear voices nominating this or that writer for the status of the Great Russian Writer, purveyor of the tradi- tion. These voices were coming from the critical establishment and from Soviet officialdom, as well as from the intelligentsia itself, with a frequency of roughly two great writers per decade. During the postwar years alone – which have lasted, blissfully, so far – a minimum of half a dozen names have filled the air. The forties ended with Mikhail Zoshchenko and the fifties started with the rediscovery of Babel. Then came the thaw, and the crown was temporarily bestowed upon Vladimir Dud- intsev for his Not by Bread Alone. The sixties were almost equally shared by Boris Pasternak’s Doctor Zhivago and by Mikhail Bulgakov’s revival. The bet- ter part of the seventies obviously belong to Solzhenitsyn; at present what is in vogue is so-called peasant prose, and the name most frequently uttered is that of Valentin Rasputin. Officialdom, though, it should be noted in all fairness, happens to be far less mercurial in its preferences: for nearly fifty hears now it has stuck to its guns, pushing Mikhail Sholokhov. -
The Literary Fate of Marina Tsve Taeva, Who in My View Is One Of
A New Edition of the Poems of Marina Tsve taeva1 he literary fate of Marina Tsvetaeva, who in my view is one of the T most remarkable Russian poets of the twentieth century, took its ultimate shape sadly and instructively. The highest point of Tsve taeva’s popularity and reputation during her lifetime came approximately be- tween 1922 and 1926, i.e., during her first years in emigration. Having left Russia, Tsve taeva found the opportunity to print a whole series of collec- tions of poetry, narrative poems, poetic dramas, and fairy tales that she had written between 1916 and 1921: Mileposts 1 (Versty 1), Craft (Remes- lo), Psyche (Psikheia), Separation (Razluka), Tsar-Maiden (Tsar’-Devitsa), The End of Casanova (Konets Kazanovy), and others. These books came out in Moscow and in Berlin, and individual poems by Tsve taeva were published in both Soviet and émigré publications. As a mature poet Tsve- taeva appeared before both Soviet and émigré readership instantly at her full stature; her juvenile collections Evening Album (Vechernii al’bom) and The Magic Lantern (Volshebnyi fonar’) were by that time forgotten. Her success with readers and critics alike was huge and genuine. If one peruses émigré journals and newspapers from the beginning of the 1920s, one is easily convinced of the popularity of Marina Tsve taeva’s poetry at that period. Her writings appeared in the Russian journals of both Prague and Paris; her arrival in Paris and appearance in February 1925 before an overflowing audience for a reading of her works was a literary event. Soviet critics similarly published serious and sympathetic reviews. -
The Forgotten Victims: Childhood and the Soviet Gulag, 1929–1953
Number 2203 ISSN: 2163-839X (online) Elaine MacKinnon The Forgotten Victims: Childhood and the Soviet Gulag, 1929–1953 This work is licensed under a CreaƟ ve Commons AƩ ribuƟ on-Noncommercial-No DerivaƟ ve Works 3.0 United States License. This site is published by the University Library System of the University of PiƩ sburgh as part of its D-Scribe Digital Publishing Program, and is cosponsored by the University of PiƩ sburgh Press. Elaine MacKinnon Abstract This study examines a facet of Gulag history that only in recent years has become a topic for scholarly examination, the experiences of children whose par- ents were arrested or who ended up themselves in the camps. It fi rst considers the situation of those who were true “children of the Gulag,” born either in prison or in the camps. Second, the paper examines the children who were left behind when their parents and relatives were arrested in the Stalinist terror of the 1930s. Those left behind without anyone willing or able to take them in ended up in orphanages, or found themselves on their own, having to grow up quickly and cope with adult situations and responsibilities. Thirdly, the study focuses on young persons who themselves ended up in the Gulag, either due to their connections with arrested family members, or due to actions in their own right which fell afoul of Stalinist “legality,” and consider the ways in which their youth shaped their experience of the Gulag and their strategies for survival. The effects of a Gulag childhood were profound both for individuals and for Soviet society as a whole. -
The Inventory of the Richard Lourie Collection #1355
The Inventory of the Richard Lourie Collection #1355 Howard Gotlieb Archival Research Center lourie.r LOURIE, RICHARD 194O- 241C Deposit January 1988 OUTLINE OF INVENTORY 7 Boxes I. MANUSCRIPTS 1973, 1985-1987. A. Novels B. Translations c. Short Fiction D. Poetry E. Film Script F. Essay G. Translated Short Prose II. PRINTED REVIEWS, 1973-1986. III. CORRESPONDENCE, 1979-1988. IV. FINANCIAL STATEMENTS, 1986-1987. 1 LOURIE, RICHARD Deposit from Author June 1987, January 1988 I. MANUSCRIPTS 1973, 1985-1987 A. Novels, 1973, 1985, 1987 Box 1 1. FIRST LOYALTY. Harcourt Brace Jovanovich, 1985. a. Holograph on legal notepads (7), ca. 275 p. (#1) b. Draft. Under title STOLAT. Typescript with holo. corr., ca. 400 p. (#2) Box 1/2 c. Setting copy. Typescript with holo. corr., ca. 540 p. including front matter. (Box 1, #3; Box 2, #1) Box 2 d. Misc. draft pages. Typescript with holo. corr., 6 p. (#2) e. Outline. Holograph, 7 p. on 6 leaves. (#2) 2. SAGITTARIUS IN WARSAW. Vanguard Press, 1973. a. Setting copy. Typescript photocopy and typescript, both with holo. corr. 164 p. including front matter. (#3) b. Galley proofs. (#4) 3. ZERO GRAVITY. Harcourt Brace Jovanovich, 1987. a. Outlines and draft pages. 5 legal notepads, holograph, 141 p. (#5 - 6) b. Miscellaneous draft pages and notes. Typescript with holo. corr. and holograph, ca. 55 p. (#7) Box 3 c. Miscellaneous draft pages. Typescript with holo. corr. and holograph, ca. 65 p. (#1) d. Miscellaneous draft pages. Typescript with holo. corr., photocopy of typescript with holo. corr., and holograph, ca. 400 p. (#2) e.