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The first sustained cultural analysis of Russia at war that reveals how art, artists, and institutions become actors in conflict.

This book was conceived in wartime, and war stands at its center. It proceeds through an analysis of cultural phenomena and processes that, in one way or another, originated in Russia and bear on the present situation—regardless of where their actors may now reside.

Through a series of case studies, The Russian Archipelago at War Against Ukraine traces how war has entered the realm of art—literature, the visual arts, theater, film, and beyond—and examines the ways in which culture itself becomes a participant in war. What emerges are narratives of resistance and protest, of persecution and prohibition, and emergent forms of underground, but also postures of indifference, resignation, and compliance, including overt loyalty to and support for the ideology and practice of war, its perpetrators, and its objectives.

Underlying this content is a more unsettling question: what aesthetic, cultural-political, moral, and intellectual challenges, consequences, and perhaps even fragile hopes does the horror of war contain?

The war in Ukraine, with the exposure of nuclear power stations and the danger of atomic warfare, has made the legacy of the Soviet nuclear sector of critical importance.

The two authors map the Soviet nuclear industry in a shifting historical context, making sense of a complex socio-technical and environmental history. Taking an innovative approach, this book explores the history of atomic power in the former Soviet Union using the spatial dimensions of the nuclear industry as a point of departure. The key concept is that of the archipelago – a network of nuclear facilities spread throughout the Soviet territory, but mutually reliant on each other and densely connected.

The story traces the emergence of nuclear science and technology for military and civilian purposes through to the post-Soviet Russian nuclear corporations as providers of resources and technology. The book explains how nuclear developments in the Soviet Union interacted with processes of environmental and landscape change. The spatial lens offers an analytically fruitful and pedagogically stimulating way to comprehend the nuclear histories of the Soviet Union and its successor states.

Winner, University of Southern California Book Prize in Literary and Cultural Studies

The Soviet Writers’ Union offered writers elite status and material luxuries in exchange for literature that championed the state. This book argues that Soviet ruler Joseph Stalin chose leaders for this crucial organization, such as Maxim Gorky and Alexander Fadeyev, who had psychological traits he could exploit. Stalin ensured their loyalty with various rewards but also with a philosophical argument calculated to assuage moral qualms, allowing them to feel they were not trading ethics for self‑interest. 

Employing close textual analysis of public and private documents including speeches, debate transcripts, personal letters, and diaries, Carol Any exposes the misgivings of Writers’ Union leaders as well as the arguments they constructed when faced with a cognitive dissonance. She tells a dramatic story that reveals the interdependence of literary policy, communist morality, state‑sponsored terror, party infighting, and personal psychology. This book will be an important reference for scholars of the Soviet Union as well as anyone interested in identity, the construction of culture, and the interface between art and ideology.

Vladimir Nabokov (1899–1977), a writer of world renown, grew up in a culturally refined family with diverse interests. Nabokov’s father, Vladimir Dmitrievich (1870–1922), was a distinguished jurist and statesman at the turn of the twentieth century. He was also a great connoisseur and aficionado of literature, painting, theater, and music as well as a passionate butterfly collector, keen chess player, and avid athlete. This book, the first of its kind, examines Vladimir Nabokov’s life and works as impacted by his distinguished father. It demonstrates that V. D. Nabokov exerted the most fundamental influence on his son, making this examination pivotal to understanding the writer’s personality and his world perception, as well as his literary, scholarly, and athletic accomplishments. The book contains never heretofore published archival materials. It is appended with rare articles by Nabokov and his father and is accompanied by old photographs. In addition, the book constitutes a survey of sorts of Russian civilization at the turn of the twentieth century by providing a partial view of the multifaceted picture of Imperial Russia in its twilight hours. The book illumines the historical background, political struggle, juridical battles, and literary and artistic life as well as athletic activities during the epoch, rich in cultural events and fraught with sociopolitical upheavals.

Cover illustration: Vladimir Nabokov and his father, 1906. The Nabokov family photographs. Copyright © The Estate of Vladimir Nabokov, used by permission of The Wylie Agency, LLC; and of The Henry W. and Albert A. Berg Collection of English and American Literature, The New York Public Library, Astor, Lenox and Tilden Foundations.

This collection of essays addresses the challenge of modern nationalism to the tsarist Russian Empire. First appearing on the empire’s western periphery this challenge, was most prevalent in twelve provinces extending from Ukrainian lands in the south to the Baltic provinces in the north, as well as to the Kingdom of Poland.
At issue is whether the late Russian Empire entered World War I as a multiethnic state with many of its age-old mechanisms run by a multiethnic elite, or as a Russian state predominantly managed by ethnic Russians. The tsarist vision of prioritizing loyalty among all subjects over privileging ethnic Russians and discriminating against non-Russians faced a fundamental problem: as soon as the opportunity presented itself, non-Russians would increase their demands and become increasingly separatist.
The authors found that although the imperial government did not really identify with popular Russian nationalism, it sometimes ended up implementing policies promoted by Russian nationalist proponents. Matters addressed include native language education, interconfessional rivalry, the “Jewish question,” the origins of mass tourism in the western provinces, as well as the emergence of Russian nationalist attitudes in the aftermath of the first Russian revolution.

As a result of mass urbanization from the late nineteenth century onward, an acute housing shortage in Russia and the associated “housing question” rapidly grew to such a large scale that no single group was able to tackle it in its entirety. Complicated, ideologically fraught negotiations and solutions emerged, failed, and occasionally partially succeeded over time. The Unruly Everyday unearths and detangles the contours of this history, exploring what it tells us not just about Soviet and Russian housing but about the messy process by which society changes.

Beyond tracing contestations about housing in particular, Deirdre Ruscitti Harshman explores how the concept of the “everyday” was used to critique the limitations of the present and to imagine alternatives. She argues that the ways various groups worked, sometimes collaboratively and sometimes contentiously, through these negotiations transcended neat pre- and postrevolutionary binaries, in terms of both chronology and ideology. The issues and local responses remained largely the same no matter what type of central government controlled the Kremlin. Critically, the housing problem was instead addressed by the development of various forms of local power—whose very existence and capacities undermine the perception of both tsarist and Soviet Russia as autocratic, highly centralized states.

Investigating late imperial Russian and early Soviet modernism’s reinvention of the actor

In this wide-ranging study, Alisa Ballard Lin argues that Russian theatrical theory and practice contributed to a broad pre- and postrevolutionary discourse about the mind, profoundly reshaping concepts of consciousness, perception, identity, and the constitution of the subject. Theatrical Consciousness: The Actor’s Mind in Russian Modernism examines efforts in Russian theater—from around the turn of the century through the mid-1930s—to stimulate, train, imagine, and ultimately understand the actor’s, as well as the spectator’s, mind. Discussing key figures of the period, including Nikolai Evreinov, Konstantin Stanislavsky, Vsevolod Meyerhold, and Alexander Tairov, Lin identifies an underappreciated dimension of humanism within Russian modernism: a humanism that resisted the pressures of an increasingly technologized, industrialized, and politicized modernity that challenged the place of the human within it.

A riveting memoir of one family’s struggle under a totalitarian regime

“Mayme Sevander and Laurie Hertzel tell a poignant tale of a hidden corner of U.S. and Soviet history. Tracing the hopes and hardships of one family over two continents, They Took My Father explores the boundaries of loyalty, identity, and ideals.” —Amy Goldstein, Washington Post

Son of the famous American journalist Louis Fischer, who corresponded from Germany and then Moscow, and the Russian writer Markoosha Fischer, Victor Fischer grew up in the shadow of Hitler and Stalin, watching his friends’ parents disappear after political arrests. Eleanor Roosevelt personally engineered the Fischer family’s escape from Russia, and soon after Victor was serving in the United States Army in World War II and fighting opposite his childhood friends in the Russian and German armies.