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How the status of Russian writers as members of the nobility, and their careers in service to the imperial state, shaped the course of Russian literature from Sumarokov and Derzhavin through Pushkin, Gogol, and Dostoevsky.
This biography examines the long life of the traveller and author Stephen Graham. Graham walked across large parts of the Tsarist Empire in the years before 1917, describing his adventures in a series of books and articles that helped to shape attitudes towards Russia in Britain and the United States. In later years he travelled widely across Europe and North America, meeting some of the best known writers of the twentieth century, including H.G.Wells and Ernest Hemingway. Graham also wrote numerous novels and biographies that won him a wide readership on both sides of the Atlantic. This book traces Graham’s career as a world traveller, and provides a rich portrait of English, Russian and American literary life in the first half of the twentieth century. It also examines how many aspects of his life and writing coincide with contemporary concerns, including the development of New Age spirituality and the rise of environmental awareness. Beyond Holy Russia is based on extensive research in archives of private papers in Britain and the USA and on the many works of Graham himself. The author describes with admirable tact and clarity Graham’s heterodox and convoluted spiritual quest. The result is a fascinating portrait of a man who was for many years a significant literary figure on both sides of the Atlantic.
Part two of a collection of David Satter's articles and essays about Russia.
The Marquis de Custine's unique perspective on a vast, fascinating country in the grip of oppressive tyranny In 1839, encouraged by his friend Balzac, Custine set out to explore Russia. His impressions turned into what is perhaps the greatest and most influential of all books about Russia under the Tsars. Rich in anecdotes as much about the court of Tsar Nicholas as the streets of St Petersburg, Custine is as brilliant writing about the Kremlin as he is about the great northern landscapes. An immediate bestseller on publication, Custine's book is also a central book for any discussion of 19th century history, as - like de Tocqueville's Democracy in America - it dramatizes far broader questions about the nature of government and society.
Writing Russia offers the first systematic analysis of Anglophone national histories of Russia. By deconstructing preeminent historical works on the history of Russia, this book provides insight into the hidden ideological underpinnings of the texts and their representations of Russia in the West. It demonstrates that historians employ a range of literary techniques to smooth over contradictions in their narratives of Russia, generating a seemingly cohesive depiction of Russia as a liminal, Other nation. This is a process that this book theorises as "discordus", representing an original conceptual framework for examining national history texts. It identifies patterns in the language and emplotment of Anglophone Russian histories across several defining historical epochs from the Mongol conquests to the Putin presidency, revealing the extent to which historians wield the narrative power to "make or break" nations. Postmodern in approach, the work pushes the boundaries of historiography and calls into question the nature of history.
It is often assumed that cultural identity is determined in a country's metropolitan centres. Given Russia's long tenure as a geographically and socially diverse empire, however, there is a certain distillation of peripheral experiences and ideas that contributes just as much to theories of national culture as do urban-centred perspectives. Writing at Russia's Border argues that Russian literature needs to be reexamined in light of the fact that many of its most important nineteenth-century texts are peripheral, not in significance but in provenance. Katya Hokanson makes the case that the fluid and ever-changing cultural and linguistic boundaries of Russia's border regions profoundly influenced the nation's literature, posing challenges to stereotypical or territorially based conceptions of Russia's imperial, military, and cultural identity. A highly canonical text such as Pushkin's Eugene Onegin (1831), which is set in European Russia, is no less dependent on the perspectives of those living at the edges of the Russian Empire than is Tolstoy's The Cossacks (1863), which is explicitly set on Russia's border and has become central to the Russian canon. Hokanson cites the influence of these and other 'periphera' texts as proof that Russia's national identity was dependent upon the experiences of people living in the border areas of an expanding empire. Produced at a cultural moment of contrast and exchange, the literature of the periphery represented a negotiation of different views of Russian identity, an ingredient that was ultimately essential even to literature produced in the major cities. Writing at Russia's Border upends popular ideas of national cultural production and is a fascinating study of the social implications of nineteenth-century Russian literature.
Whether you're planning a trip to Russia or adding a second language to your resume, this book will help you to: recognize and read Cyrillic letters; pronounce Russian words like a native; ask for directions, order dinner, and conduct business; and hold your own in a conversation. Includes step-by-step lessons in vocabulary, grammar, and conversation.
“Hilarious. . . . To understand Russia, read A Terrible Country.” —Time "This artful and autumnal novel, published in high summer, is a gift to those who wish to receive it." —Dwight Garner, The New York Times "Hilarious, heartbreaking . . . A Terrible Country may be one of the best books you'll read this year." —Ann Levin, Associated Press A New York Times Editors' Choice Named a Best Book of 2018 by Bookforum, Nylon, Esquire, and Vulture A literary triumph about Russia, family, love, and loyalty—from a founding editor of n+1 and the author of Raising Raffi When Andrei Kaplan’s older brother Dima insists that Andrei return to Moscow to care for their ailing grandmother, Andrei must take stock of his life in New York. His girlfriend has stopped returning his text messages. His dissertation adviser is dubious about his job prospects. It’s the summer of 2008, and his bank account is running dangerously low. Perhaps a few months in Moscow are just what he needs. So Andrei sublets his room in Brooklyn, packs up his hockey stuff, and moves into the apartment that Stalin himself had given his grandmother, a woman who has outlived her husband and most of her friends. She survived the dark days of communism and witnessed Russia’s violent capitalist transformation, during which she lost her beloved dacha. She welcomes Andrei into her home, even if she can’t always remember who he is. Andrei learns to navigate Putin’s Moscow, still the city of his birth, but with more expensive coffee. He looks after his elderly—but surprisingly sharp!—grandmother, finds a place to play hockey, a café to send emails, and eventually some friends, including a beautiful young activist named Yulia. Over the course of the year, his grandmother’s health declines and his feelings of dislocation from both Russia and America deepen. Andrei knows he must reckon with his future and make choices that will determine his life and fate. When he becomes entangled with a group of leftists, Andrei’s politics and his allegiances are tested, and he is forced to come to terms with the Russian society he was born into and the American one he has enjoyed since he was a kid. A wise, sensitive novel about Russia, exile, family, love, history and fate, A Terrible County asks what you owe the place you were born, and what it owes you. Writing with grace and humor, Keith Gessen gives us a brilliant and mature novel that is sure to mark him as one of the most talented novelists of his generation.
Man Booker Prize Finalist: This “marvelous novel” about an abandoned husband, set in Moscow a century ago, is “bristling with wry comedy” (Newsday). March 1913. Moscow is stirring herself to meet the beginning of spring. English painter Frank Reid returns from work one night to find that his wife has gone away; no one knows where or why, or whether she’ll ever come back. All Frank knows for sure is that he is now alone and must find someone to care for his three young children. Into Frank’s life comes Lisa Ivanovna, a quiet, calming beauty from the country, untroubled to the point of seeming simple. But is she? And why has Frank’s bookkeeper, Selwyn Crane, gone to such lengths to bring these two together? From a winner of the National Book Critics Circle Award, this novel, with a new introduction by Andrew Miller, author of Pure, is filled with “writing so precise and lilting it can make you shiver” (Los Angeles Times). “Fitzgerald was the author of several slim, perfect novels. The Blue Flower and The Beginning of Spring both had me abuzz for days the first time I read them. She was curiously perfect.” —Teju Cole, author of Open City
The legendary Russian biography series, The Lives of Remarkable People, has played a significant role in Russian culture from its inception in 1890 until today. The longest running biography series in world literature, it spans three centuries and widely divergent political and cultural epochs: Imperial, Soviet, and Post-Soviet Russia. The authors argue that the treatment of biographical figures in the series is a case study for continuities and changes in Russian national identity over time. Biography in Russia and elsewhere remains a most influential literary genre and the distinctive approach and branding of the series has made it the economic engine of its publisher, Molodaia gvardiia. The centrality of biographies of major literary figures in the series reflects their heightened importance in Russian culture. The contributors examine the ways that biographies of Russia's foremost writers shaped the literary canon while mirroring the political and social realities of both the subjects’ and their biographers' times. Starting with Alexander Pushkin and ending with Joseph Brodsky, the authors analyze the interplay of research and imagination in biographical narrative, the changing perceptions of what constitutes literary greatness, and the subversive possibilities of biography during eras of political censorship.