The Cambridge Introduction to Russian Literature

See Boris Gasparov, “A Testimony: Shostakovich’s Fourth Symphony and the End of Romantic Narrative,” ch. 6, Five Operas and a Symphony (New Haven: Yale University Press, 2005), pp. 161-79, where the implications of this thesis are discussed for sonata form. In oral presentations, Gasparov has adduced further literary examples, including Cement.

Notes to pages 206–25 265

Regine Robin, Socialist Realism, An Impossible Aesthetic, trans. Catherine Porter (Palo Alto: Stanford University Press, 1992), pp. 60-62.

For this early career, see Amanda J. Metcalf, Evgenii Shvarts and his Fairy-Tales for Adults (Birmingham Slavonic Monographs No. 8, 1979).

Yevgeny Schwartz, The Dragon, in Three Soviet Plays, ed. Michael Glenny (New York: Penguin Books, 1966), Act I, pp. 147-49. The translation, by Max Hayward and Harold Shukman, is free but excellent.

Liudmila Filatova, “Konchen bal,” Peterburgskii teatraVnyi zhurnal No. 39 (2005). http://ptzh.theatre.ru/2005/39/23/.

Andrei Platonov, Dzhan, trans. Joseph Barnes, from The Fierce and Beautiful World: Stories by Andrei Platonov (New York: Dutton, 1971), p. 82.

Andrey Platonov, The Foundation Pit, trans. Mirra Ginsburg (Evanston, IL: Northwestern University Press, 1994), p. 3. All further references in the text are to this translation.

See Thomas Seifrid, “Platonov and the Culture of the Five-Year Plan (1929-1931),” ch. 4, Andrei Platonov: Uncertainties of Spirit (Cambridge: Cambridge University Press, 1992), esp. pp. 132-49 for a list of parallels with Cement. My examples and conclusions depart somewhat from his.

Nikolai Vasilevich Gogol, “Sorochinsky Fair,” in Village Evenings near Dikanka and Mirgorod, trans. Christopher English (Oxford: Oxford University Press, 1994), pp. 33-34.

Katerina Clark, “The Cult of Byron in the Stalinist Late 1930s” [excerpts of two chapters, on the Cult of Byron and the Stalinist Sublime, from her book in progress, Moscow, the Third Rome], delivered at “Slavic Historical Mythologies” (University of Pennsylvania, April 27, 2007). Cited by permission.

Lazar Fleishman, “The Trials of Hamlet,” ch. 10, Boris Pasternak: The Poet and his Politics (Cambridge, MA: Harvard University Press, 1990), especially pp. 218-23.

Osip Mandelstam, “The End of the Novel” [1922], in Mandelstam: Critical Prose and Letters, ed. Jane Gray Harris (Ann Arbor: Ardis, 1979), pp. 198-201.

9 From the first Thaw to the end

Two efficient guides to this period, which I draw on here, are Marc Slonim, “The Thaw,” ch. 27, Soviet Russian Literature, Writers and Problems 1917–1967 (Oxford: Oxford University Press, 1969), pp. 293–310, and Josephine Woll, “The Politics of Culture, 1945–2000,” in The Cambridge History of Russia, ed. Ronald Grigor Suny (Cambridge: Cambridge University Press, 2006), vol. III, pp. 605–35.

David Burg and George Feifer, Solzhenitsyn (New York: Stein and Day, 1972), p. 96.

From “Lendlease,” in Varlam Shalamov, Kolyma Tales, trans. John Glad (New York: Penguin Books, 1994), pp. 280–81. For a good contrast with Ivan Denisovich, see also “The Lepers” and “Condensed Milk.”

266 Notes to pages 225–33

Aleksandr I. Solzhenitsyn, The Gulag Archipelago, 1918–1956, trans. Thomas P. Whitney, I–III (New York: Harper and Row, 1973), p. xii.

“Nobel Lecture” [1970], in The Solzhenitsyn Reader: New and Essential Writings, 1947–2005, ed. Edward E. Ericson, Jr. and Daniel J. Mahoney (Wilmington, DE: ISI Books, 2006), pp. 512–26, esp. 526.

“The Future According to Alexander Solzhenitsyn” [1992], repr. in Tatyana Tolstaya, Pushkin’s Children: Writings on Russia and Russians, trans. Jamey Gambrell (New York: Houghton Mifflin, 2003), pp. 61–79, esp. 62–63. Translation adjusted.

Aleksandr I. Solzhenitsyn, “The Relentless Cult of Novelty and How It Wrecked the Century,” New York Times Book Review (February 7, 1993), pp. 3, 17.

Vladimir Voinovich,Moscow2042,trans. RichardLourie (NewYork:HarcourtBrace Jovanovich, 1990), 2nd edn. with a new Afterword by the author, p. 279. In 2002, Voinovich published a brief book entirely on Solzhenitsyn, Portret na fone mifa [Portrait against the background of a myth] (Moscow: Eksmo, 2002) with no irony at all.