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The USSR's Writer's Union, a form of cultural and political organization unknown in the West, has ruled every aspect of Russian writers' private and professional lives from the time of Stalin to the present day. This sophisticated and detailed study shows how the union has operated over the last five decades.
Nonfiction. In August 1989, a new, independent organization of young Soviet writers hosted the first international conference for avant-garde writers to be held in the USSR since the Russian Revolution. "Summer School--Language, Poetry, Consciousness" was a grassroots attempt to harvest the fruits of glasnost, bringing together poets and scholars from Siberia to San Diego. Attending were four American writers, Michael Davidson, Lyn Hejinian, Ron Silliman, and Barrett Watten. Leningrad is their collaborative account of this extraordinary trip. A collection of poetic essays, it is a commentary on the intellectual revelations that result when post-glasnot Soviet and American intellectuals meet face to face. Some misunderstandings that arise are funny: one Russian asks the Americans if the Manson family is a TV show; some are surprising: when asked if she would like feminist literature from the states, a Russian woman requests the complete poems of Jim Morrison. While each group found inspiration in the other's avant-garde tradition, they had different definitions of what avant-garde was. American writers were testing their ideals of Western Marxism; the Marxists they had admired idealized American bourgeois democracy. Intellectually challenging, this collection is an unusual twist on the meeting of minds from across oceans.
This book presents the lives and works of eleven Jewish women authors who lived in the Soviet Union, and who wrote and published their works in Russian. The works include poems, novels, memoirs and other writing. The book provides an overview of the life of each author, an overview of each author’s literary output, and an assessment of each author’s often conflicted view of her "feminine self" and of her "Jewish self". At a time when the large Jewish population which lived within the Soviet Union was threatened under Stalin’s prosecutions the book provides highly-informative insights into what it was like to be a Jewish woman in the Soviet Union in this period. The writers presented are: Alexandra Brustein, Elizaveta Polonskaia, Raisa Bloch, Hanna Levina, Ol'ga Ziv, Yulia Neiman, Rahil’ Baumwohl’, Margarita Alliger, Sarah Levina-Kul’neva, Sarah Pogreb and Zinaida Mirkina.
"Reappraises the end of the Cold War and the collapse of the Soviet Union based on the author's 35-year career as a specialist in Soviet and post-Soviet affairs. Explores the psychological universe of Soviet rulers to clarify the nature of Mikhail Gorbachev's reforms"--Provided by publisher.
Stalin's reign of terror in the Soviet Union has been called 'the other Holocaust'. During the Stalin years, it is thought that more innocent men, women and children perished than in Hitler's destruction of the European Jews. Many millions died in Stalin's Gulag of torture prisons and forced-labour camps, yet others survived and were freed after his death in 1953. This book is the story of the survivors. Long kept secret by Soviet repression and censorship, it is now told by renowned author and historian Stephen F. Cohen, who came to know many former Gulag inmates during his frequent trips to Moscow over a period of thirty years. Based on first-hand interviews with the victims themselves and on newly available materials, Cohen provides a powerful narrative of the survivors' post-Gulag saga, from their liberation and return to Soviet society, to their long struggle to salvage what remained of their shattered lives and to obtain justice. Spanning more than fifty years, "The Victims Return" combines individual stories with the fierce political conflicts that raged, both in society and in the Kremlin, over the victims of the terror and the people who had victimized them. This compelling book will be essential reading for anyone interested in Russian history.
Despite the appalling record of the Soviet Union on human rights questions, many western intellectuals with otherwise impeccable liberal credentials were strong supporters the Soviet Union in the interwar period. This book explores how this seemingly impossible situation came about. Focusing in particular on the work of various official and semi-official bodies, including Comintern, the International Association of Revolutionary Writers, the All-Union Society for Cultural Relations with Foreign Countries, and the Foreign Commission of the Soviet Writers' Union, this book shows how cultural propaganda was always a high priority for the Soviet Union, and how successful this cultural propaganda was in seducing so many Western thinkers.
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.
This is the first book-length study of Boris Eikhenbaum (1886-1959), a leading Russian Formalist and a pathbreaking Tolstoy scholar. The author carefully traces Eikhenbaum's intellectual trajectory from his pre-Formalist "philosophical" criticism, through Formalism to his later biographical criticism of Tolstoy and Lermontov. Eikhenbaum's contribution to Formalism has not heretofore received clear definition, and the author shows that his ideas and influence were even greater than previously supposed. His shift away from Formalism, with its emphasis on purely literary analysis, toward a criticism that emphasized the writer as a cultural figure is seen as a response to both political exigency and personal need. Although by the late 1910's Formalism had become poetics non grata in the Soviet Union, the author demonstrates that Eikhenbaum also had compelling intellectual reasons to move away from Formalism, which had reached a dead end. The author asserts that Eikhenbaum prolonged his scholarly life by concentrating on nineteenth-century Russian authors whose moral opposition to mainstream Russian intellectual thought served as a model for his own ethical stance in Stalin's Russia. This is particularly true of his monumental three-volume work on Tolstoy, which in its own way has been as influential as his Formalist writings. Throughout, the author relates Eikhenbaum's critical thinking to such current literary issues as intention, perception, meaning, reader reception, deconstruction, and the New Historicism.