Containing analyses of everything from prisoner poetry to album covers, Belomor: Criminality and Creativity in Stalin’s Gulag moves beyond the simplistic good/evil paradigm that often accompanies Gulag scholarship. While acknowledging the normative power of Stalinism—an ethos so hegemonic it wanted to harness the very mechanisms of inspiration—the volume also recognizes the various loopholes offered by artistic expression. Perhaps the most infamous project of Stalin’s first Five-Year Plan, the Belomor construction was riddled by paradox, above all the fact that it created a major waterway that was too shallow for large crafts. Even more significant, and sinister, is that the project won the backing of famous creative luminaries who enthusiastically professed the doctrine of self-fashioning. Belomor complicates our understanding of the Gulag by looking at both prisoner motivation and official response from multiple angles, thereby offering a more expansive vision of the labor camp and its connection to Stalinism.
"A fascinating work. . . . Given the growing interest in the Stalin period among historians and literary scholars, this work is truly cutting-edge."--Catharine T. Nepomnyaschy, Barnard College The Belomor Canal, exalted in the 1930s by the Stalinist press, came to symbolize what was morally deplorable in Stalinism. Making the story available for the first time in English, Cynthia Ruder reconstructs the Canal project as a pivotal social, political, historical, and, most important, literary event. Built with forced labor, the Belomor project has been a forbidden topic for half a century. With access to recently opened archives and to interviews with Canal construction survivors themselves, Ruder examines the project and its attendant literary works--drama, poetry, novels, and the collectively written History of the Construction of the Stalin White Sea-Baltic Canal--to create an unusually broad understanding of Stalinist culture. She argues that the project was the first to institutionalize the philosophy of perekovka, the idea that a new people who personify the Soviet Union in action and deed could be created through forced labor and ideological reeducation. As both a construction project and a literary event, Belomor was characterized by contradictions: enthusiasm versus revulsion, good will versus cynicism, self-destruction versus self-preservation, and scorn for the West versus a desperate hunger to impress it. Ruder shows that these juxtapositions capture the tension that infused many other events at the time, turning Belomor into a microcosm of life and literature in Soviet Russia. Cynthia A. Ruder is a lecturer in Russian at Bryn Mawr College. She has published work in Russian Literature and American Approaches to Russian Language Pedagogy.
A spellbinding meditation on art and life that travels from Eastern Europe to Northern Australia, from World War II to the present. Shortlisted for the Prime Minister's Literary Awards, 2014 Elegiac and seductive, Belomor is the frontier where truth and invention meet, where fragments from distant lives intermingle, and cohere. A man seeks out the father figure who shaped his picture of the past. A painter seeks redemption after the disasters of his years in northern Australia. A student of history travels into the depths of religion, the better to escape the demons in his mind. A filmmaker seeks out freedom and open space, and looks into the murk and sediment of herself. Four chapters: four journeys through life, separate, yet interwoven as the narrative unfolds. In this entrancing new book from one of our most original writers, we meet European dissidents from the age of postwar communism, artists in remote Australia, snake hunters, opal miners and desert magic healers. Belomor is a meditation on time, and loss: on how the most bitter recollections bring happiness, and the meaning of a secret rests in the thoughts surrounding it. Nicolas Rothwell is the award-winning author of Heaven and Earth, Wings of the Kite-Hawk, Another Country, The Red Highway and Journeys to the Interior. He lives in Darwin, and is the Australian's roving northern correspondent. 'Melancholy, singular, exhilarating, Belomor reads like a haunted history of the world.' Delia Falconer 'Belomor is exhilarating, challenging and draining...The existence of a final page, a final sentence, presupposes some sort of climax, but Belomor would be better suited to looping back and beginning all over again.' Adelaide Advertiser 'Rothwell's writing resists easy description. He roams the borderlands between memoir and fiction and insinuates himself into gaps between time and place...His prose is lush and often beautiful.' Weekend Australian 'At a time when writers and publishers shy away from the obscure and the oblique, Rothwell's ambition and the intricacy of his book must be acknowledged.' Sydney Morning Herald 'Thoughout these pages, Rothwell proves adept at navigating the cross-currents of European cultural history. Nevertheless, the main emphasis of Belomor falls elsewhere, on the physical, cultural and spiritual complexion of a seemingly very different world: the vast, enigmatic spaces of the north of Australia that Rothwell has traversed for many years. This frequently oblique but almost always compelling book seeks to reconcile those apparently opposed worlds, tracing subtle but significant affinities between Europe's historically determined self-consciousness and what might be called the Dreamtime.' Saturday Age, Canberra Times, Sydney Morning Herald 'A peculiar and bewitching work of Australian literature...a hymn of praise to the north and its inhabitants.' Herald Sun 'Rothwell's calm wondering...left me with a feeling of enchantment.' Robert Dessaix 'Spanning continents and decades, this is a work that defies literary conventions; seamlessly moving between fact and fiction, memoir and essay, history and digressive conversation...it also poses critical questions about the present and future of our culture that will stay with readers long after they finish this book.' Bill Godber, Managing Director Turnaround UK
Death and Redemption offers a fundamental reinterpretation of the role of the Gulag--the Soviet Union's vast system of forced-labor camps, internal exile, and prisons--in Soviet society. Soviet authorities undoubtedly had the means to exterminate all the prisoners who passed through the Gulag, but unlike the Nazis they did not conceive of their concentration camps as instruments of genocide. In this provocative book, Steven Barnes argues that the Gulag must be understood primarily as a penal institution where prisoners were given one final chance to reintegrate into Soviet society. Millions whom authorities deemed "reeducated" through brutal forced labor were allowed to leave. Millions more who "failed" never got out alive. Drawing on newly opened archives in Russia and Kazakhstan as well as memoirs by actual prisoners, Barnes shows how the Gulag was integral to the Soviet goal of building a utopian socialist society. He takes readers into the Gulag itself, focusing on one outpost of the Gulag system in the Karaganda region of Kazakhstan, a location that featured the full panoply of Soviet detention institutions. Barnes traces the Gulag experience from its beginnings after the 1917 Russian Revolution to its decline following the 1953 death of Stalin. Death and Redemption reveals how the Gulag defined the border between those who would reenter Soviet society and those who would be excluded through death.
Asked shortly after the revolution about how she viewed the new government, Tatiana Varsher replied, "With the wide-open eyes of a historian." Her countrywoman, Zinaida Zhemchuzhnaia, expressed a similar need to take note: "I want to write about the way those events were perceived and reflected in the humble and distant corner of Russia that was the Cossack town of Korenovskaia." What these women witnessed and experienced, and what they were moved to describe, is part of the extraordinary portrait of life in revolutionary Russia presented in this book. A collection of life stories of Russian women in the first half of the twentieth century, In the Shadow of Revolution brings together the testimony of Soviet citizens and émigrés, intellectuals of aristocratic birth and Soviet milkmaids, housewives and engineers, Bolshevik activists and dedicated opponents of the Soviet regime. In literary memoirs, oral interviews, personal dossiers, public speeches, and letters to the editor, these women document their diverse experience of the upheavals that reshaped Russia in the first half of this century. As is characteristic of twentieth-century Russian women's autobiographies, these life stories take their structure not so much from private events like childbirth or marriage as from great public events. Accordingly the collection is structured around the events these women see as touchstones: the Revolution of 1917 and the Civil War of 1918-20; the switch to the New Economic Policy in the 1920s and collectivization; and the Stalinist society of the 1930s, including the Great Terror. Edited by two preeminent historians of Russia and the Soviet Union, the volume includes introductions that investigate the social historical context of these women's lives as well as the structure of their autobiographical narratives.
The documents emerging from the secret police archives of the former Soviet bloc have caused scandal after scandal, compromising revered cultural figures and abruptly ending political careers. Police Aesthetics offers a revealing and responsible approach to such materials. Taking advantage of the partial opening of the secret police archives in Russia and Romania, Vatulescu focuses on their most infamous holdings—the personal files—as well as on movies the police sponsored, scripted, or authored. Through the archives, she gains new insights into the writing of literature and raises new questions about the ethics of reading. She shows how police files and films influenced literature and cinema, from autobiographies to novels, from high-culture classics to avant-garde experiments and popular blockbusters. In so doing, she opens a fresh chapter in the heated debate about the relationship between culture and politics in twentieth-century police states.
Bringing together a team of scholars from the diverse fields of geography, literary studies, and history, this is the first volume to study water as a cultural phenomenon within the Russian/Soviet context. Water in this context is both a cognitive and cultural construct and a geographical and physical phenomenon, representing particular rivers (the Volga, the Chusovaia in the Urals, the Neva) and bodies of water (from Baikal to sacred springs and the flowing water of nineteenth-century estates), but also powerful systems of meaning from traditional cultures and those forged in the radical restructuring undertaken in the 1930s. Individual chapters explore the polyvalence and contestation of meanings, dimensions, and values given to water in various times and spaces in Russian history. The reservoir of symbolic association is tapped by poets and film-makers but also by policy-makers, the popular press, and advertisers seeking to incite reaction or drive sales. The volume's emphasis on the cultural dimensions of water will link material that is often widely disparate in time and space; it will also serve as the methodological framework for the analysis undertaken both within chapters and in the editors' introduction.
A DEBUT NOVEL OF DARING ORIGINALITY, THE YID GUARANTEES THAT YOU WILL NEVER THINK OF STALINIST RUSSIA, SHAKESPEARE, THEATER, YIDDISH, OR HISTORY THE SAME WAY AGAIN Moscow, February 1953. A week before Stalin's death, his final pogrom, "one that would forever rid the Motherland of the vermin," is in full swing. Three government goons arrive in the middle of the night to arrest Solomon Shimonovich Levinson, an actor from the defunct State Jewish Theater. But Levinson, though an old man, is a veteran of past wars, and his shocking response to the intruders sets in motion a series of events both zany and deadly as he proceeds to assemble a ragtag group to help him enact a mad-brilliant plot: the assassination of a tyrant. While the setting is Soviet Russia, the backdrop is Shakespeare: A mad king has a diabolical plan to exterminate and deport his country's remaining Jews. Levinson's cast of unlikely heroes includes Aleksandr Kogan, a machine-gunner in Levinson's Red Army band who has since become one of Moscow's premier surgeons; Frederick Lewis, an African American who came to the USSR to build smelters and stayed to work as an engineer, learning Russian, Esperanto, and Yiddish; and Kima Petrova, an enigmatic young woman with a score to settle. And wandering through the narrative, like a crazy Soviet Ragtime, are such historical figures as Paul Robeson, Solomon Mikhoels, and Marc Chagall. As hilarious as it is moving, as intellectual as it is violent, Paul Goldberg's THE YID is a tragicomic masterpiece of historical fiction.
Blending close readings of literature, films, and other artworks with analysis of texts of political philosophy, science, and social theory, Mieka Erley offers an interdisciplinary perspective on attitudes to soil in Russia and the Soviet Union from the early nineteenth to the mid-twentieth century. As Erley shows in On Russian Soil, the earth has inspired utopian dreams, reactionary ideologies, social theories, and durable myths about the relationship between nation and nature. In this period of modernization, soil was understood as the collective body of the nation, sitting at the crux of all economic and social problems. The "soil question" was debated by nationalists and radical materialists, Slavophiles and Westernizers, poets and scientists. On Russian Soil highlights a selection of key myths at the intersection of cultural and material history that show how soil served as a natural, national, and symbolic resource from Fedor Dostoevsky's native soil movement to Nikita Khrushchev's Virgin Lands campaign at the Soviet periphery in the 1960s. Providing an original contribution to ecocriticism and environmental humanities, Erley expands our understanding of how cultural processes write nature and how nature inspires culture. On Russian Soil brings Slavic studies into new conversations in the environmental humanities, generating fresh interpretations of literary and cultural movements and innovative readings of major writers.
