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"In its sure grasp of a huge subject and in its speculative boldness, Professor Clark's study represents a major breakthrough. It sends one back to the original texts with a whole host of new questions.... And it also helps us to understand the place of the 'official' writer in that peculiar mixture of ideology, collective pressure, and inspiration which is the Soviet literary process." --Times Literary Supplement "The Soviet Novel has had an enormous impact on the way Stalinist culture is studied in a range of disciplines (literature scholarship, history, cultural studies, even anthropology and political science)." --Slavic Review "Those readers who have come to realize that history is a branch of mythology will find Clark's book a stimulating and rewarding account of Soviet mythopoesis." --American Historical Review A dynamic account of the socialist realist novel's evolution as seen in the context of Soviet culture. A new Afterword brings the history of Socialist Realism to its end at the close of the 20th century.
Deploying analytical tools drawn from anthropology, history, and literary theory, Katerina Clark's pathbreaking study explores the evolution of the socialist realist novel as a myth-like genre. Blending intellectual and literary history, Clark traces the development of the novel's master plot from its origin in the mid-19th century to its end at the close of the 20th. Copyright © Libri GmbH. All rights reserved.
"In its sure grasp of a huge subject and in its speculative boldness, Professor Clark's study represents a major breakthrough. It sends one back to the original texts with a whole host of new questions.... And it also helps us to understand the place of the 'official' writer in that peculiar mixture of ideology, collective pressure, and inspiration which is the Soviet literary process." --Times Literary Supplement "The Soviet Novel has had an enormous impact on the way Stalinist culture is studied in a range of disciplines (literature scholarship, history, cultural studies, even anthropology and political science)." --Slavic Review "Those readers who have come to realize that history is a branch of mythology will find Clark's book a stimulating and rewarding account of Soviet mythopoesis." --American Historical Review A dynamic account of the socialist realist novel's evolution as seen in the context of Soviet culture. A new Afterword brings the history of Socialist Realism to its end at the close of the 20th century.
Completed in the late 1950s by its distinguished Russian author, this novel has been recognized as fiction on an epic scale: powerful, deeply moving, and devastating in its depiction of a world mutilated by war and ideological tyranny.
An assortment of characters tastes freedom for the first time in this novel about Russia between the fall of the Berlin Wall and the coup of August 1991.
No one with an interest in Soviet writing of the last thirty years will want to ignore this book.
For the centenary of the Russian Revolution, a new edition of the Russian Nobel Prize-winning author's most accessible novel One Day in the Life of Ivan Denisovich is an undisputed classic of contemporary literature. First published (in censored form) in the Soviet journal Novy Mir in 1962, it is the story of labor-camp inmate Ivan Denisovich Shukhov as he struggles to maintain his dignity in the face of communist oppression. On every page of this graphic depiction of Ivan Denisovich's struggles, the pain of Aleksandr Solzhenitsyn's own decade-long experience in the gulag is apparent—which makes its ultimate tribute to one man's will to triumph over relentless dehumanization all the more moving. An unforgettable portrait of the entire world of Stalin's forced-work camps, One Day in the Life of Ivan Denisovich is one of the most extraordinary literary works to have emerged from the Soviet Union. The first of Solzhenitsyn's novels to be published, it forced both the Soviet Union and the West to confront the Soviet's human rights record, and the novel was specifically mentioned in the presentation speech when Solzhenitsyn was awarded the Nobel Prize in Literature in 1970. Above all, One Day in the Life of Ivan Denisovich establishes Solzhenitsyn's stature as "a literary genius whose talent matches that of Dostoevsky, Turgenev, Tolstoy" (Harrison Salisbury, The New York Times). This unexpurgated, widely acclaimed translation by H. T. Willetts is the only translation authorized by Solzhenitsyn himself.
I have just read The Three. It is a good book. Yes, despite its verbosity, repetition, and many other faults, it is a good book. As I read it I thought sadly that if such a book had fallen into my house fifteen years ago it would have spared me the torture of many thoughts as superfluous as they were painful.A big great dilapidated house is filled to bursting with poor working folk. Here poverty and the law of the fist hold away. The strong beat the weak; grown -- ups beat children -- beat them hard, sometimes to death.It is in this house that three friends spend their childhood and youth. One of them Ilya Lunyev (the main character in the book), is a sturdy chap who moves into town from the country. The other two are Yakov Filomonov, a meek, quiet boy, son of a bar- keeper, and Pavel Grachov, the blacksmith?s bellicose son.With the insight and sympathy of a great writer Gorky relates the grim life story of these three. We learn about Masha, Vera and Olimpiada, the girls who went through so many trials; about the tragic fate of Ilya, the untimely death of Yakov, and the new course upon which Pavel sets out under the influence of his new friends.
The Big Green Tent epitomizes what we think of when we imagine the classic Russian novel. With epic breadth and intimate detail, Ludmila Ulitskaya’s remarkable work tells the story of three school friends who meet in Moscow in the 1950s and go on to embody the heroism, folly, compromise, and hope of the Soviet dissident experience. These three boys—an orphaned poet; a gifted, fragile pianist; and a budding photographer with a talent for collecting secrets—struggle to reach adulthood in a society where their heroes have been censored and exiled. Rich with love stories, intrigue, and a cast of dissenters and spies, The Big Green Tent offers a panoramic survey of life after Stalin and a dramatic investigation into the prospects for individual integrity in a society defined by the KGB. Each of the central characters seeks to transcend an oppressive regime through art, a love of Russian literature, and activism. And each of them ends up face-to-face with a secret police that is highly skilled at fomenting paranoia, division, and self-betrayal. A man and his wife each become collaborators, without the other knowing; an artist is chased into the woods, where he remains in hiding for four years; a researcher is forced to deem a patient insane, damning him to torture in a psychiatric ward. Ludmila Ulitskaya’s novel belongs to the tradition of Dostoevsky, Tolstoy, and Pasternak: it is a work consumed with politics, love, and belief—and a revelation of life in dark times.