The Imperative of Reliability examines the development of nineteenth-century Russian prose and the remarkably swift emergence of the Russian novel. Victoria Somoff identifies an unprecedented situation in the production and perception of the utterance that came to define nascent novelistic fictionality both in European and Russian prose, where the utterance itself—whether an oral story or a “found” manuscript—became the object of representation within the compositional format of the frame narrative. This circumstance generated a narrative perspective from which both the events and their representation appeared as concomitant in time and space: the events did not precede their narration but rather occurred and developed along with and within the narration itself. Somoff establishes this story-discourse convergence as a major factor in enabling the transition from shorter forms of Russian prose to the full-fledged realist novel.
In this exceptional collection of dispatches from occupied Donbas, writer and journalist Stanislav Aseyev details the internal and external changes observed in the cities of Makiïvka and Donetsk in eastern Ukraine. Aseyev scrutinizes his immediate environment and questions himself in an attempt to understand the reasons behind the success of Russian propaganda among the working-class residents of the industrial region of Donbas.
In this work of documentary prose, Aseyev focuses on the early period of the Russian-sponsored military aggression in Ukraine’s east, the period of 2015–2017. The author’s testimony ends with his arrest for publishing his dispatches and his subsequent imprisonment and torture in a modern-day concentration camp on the outskirts of Donetsk run by lawless mercenaries and local militants with the tacit approval and support of Moscow. For the first time, an inside account is presented here of the toll on real human lives and civic freedoms that the citizens of Europe’s largest country continue to suffer in Russia’s hybrid war on its territory.
The Institutions of Russian Modernism illuminates the key role of Symbolism as the earliest form of modernism in Russia, emerging seemingly ex nihilo at the end of the nineteenth century. Combining book history, periodical studies, and reception theory, Jonathan Stone examines the poetry and theory of Russian Symbolism within the framework of the institutions that organized, published, and disseminated the works to Russian readers. Surveying a wealth of examples of books, journals, and almanacs, Stone traces how publishers of Symbolist works marketed the movement and fashioned a Symbolist reader. His persuasive argument that after its eclipse Symbolism's legacy remained embedded in the heart of Russian modernism will be of interest to scholars and general readers.
Woll analyzes the aesthetic strategies Trifonov deployed to transmit his ideas and opinions to Soviet readers and elucidates the major themes of his late fiction: the moral climate that permitted the triumph of Stalinist immorality, the relationship between the Bolshevik revolutionary past and present-day Soviet amorality, and, finally, art's prismatic interpretation of reality. Drawing on both Western and Soviet scholarship, as well as interviews with many Soviet and emigre writers, literary critics, and personal acquaintances of Trifonov, Woll provides detailed background on the Soviet literary milieu and the rules governing literary production.
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.
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