In what marks an exciting new critical direction, Rebecca Stanton contends that the city of Odessa—as a canonical literary image and as a kaleidoscopic cultural milieu—shaped the narrative strategies developed by Isaac Babel and his contemporaries of the Revolutionary generation. Modeling themselves on the tricksters and rogues of Odessa lore, Babel and his fellow Odessans Val­entin Kataev and Yury Olesha manipulated their literary personae through complex, playful, and often subversive negotiations of the boundary between autobiography and fiction. In so doing, they cannily took up a place prepared for them in the Russian canon and fostered modes of storytelling that both reflected and resisted the aesthetics of Socialist Realism. Stanton concludes with a rereading of Babel’s “autobiographical” stories and examines their leg­acy in post-Thaw works by Kataev, Olesha, and Konstantin Paustovsky.

A classic of Soviet realism, Time, Forward! captures the enthusiasm and optimism of the first Five-Year Plan in its portrayal of the construction of Magnitogorsk, an enormous metallurgical plant considered one of the finest industrial achievements of the period. It embodies the beliefs of the era—that the collective (here a multinational brigade) through its determination and the application of technology can accomplish the impossible, conquer nature, even overcome time. Utilizing cinematic technique to tell his story, Kataev focuses on a twenty-four hour period when of the Magnitogorsk shock-brigades breaks a world record for pouring cement. The result is a remarkably affecting portrait of the idealism and sacrifice powering the early Soviet era.