The Cambridge Introduction to Russian Literature

“Repentance and Self-limitation” [1973] is one of Solzhenitsyn’s most overtly biblical essays, in theme and tone. The Solzhenitsyn Reader, pp. 527–55.

“Vladimir Putin pobyval v gostyakh u Solzhenitsyna,” Vesti (June 14, 2007).

The Solzhenitsyn Reader was reviewed by Zinovy Zinik in TLS March 9, 2007, where the writer’s shabby record, in his exile and returnee phase, of denunciations against liberal opponents is taken as proof of Russia’s failure to “de-Sovietize.” Daniel Mahoney responded in an indignant counter-essay, “Zinovy Zinik and ‘The Solzhenitsyn Reader,’” First Things: The Journal of Religion, Culture, and Public Life (March 12, 2007).

Aleksandr I. Solzhenitsyn, The Cancer Ward (New York: Dell, 1968), p. 433.

This episode from Yevtushenko’s 1998 memoirs is cited and contextualized in Ser-guei Alex. Oushakine, “Crimes of Substitution: Detection in Late Soviet Society,” Public Culture 15.3 (2003): 426–51, esp. 427–28. Oushakine’s term for Shostakovich’s ploy is “transgressive imitation,” a “crime of substitution” distinct from deception or imposture that is designed to modify the symbolic structure of one’s society, not to elicit martyrdom.

Barbara Heldt, Terrible Perfection: Women in Russian Literature (Bloomington: Indiana University Press, 1987).

Z. Boguslavskaya, cited in Robert Porter, “Female Alternatives – Narbikova, Petru-shevskaya, Tolstaya,” Russia’s Alternative Prose (Oxford: Berg, 1994), p. 44.

For a biography, see Helena Goscilo, “Ludmila Petrushevskaya,” in Russian Writers since 1980, ed. Marina Balina and Mark Lipovetsky, Dictionary of Literary Biography 285 (Detroit: Gale, 2004), pp. 220–29.

Lyudmila Petrushevskaya, “Our Crowd,” trans. Helena Goscilo, in Glasnost: An Anthology of Russian Literature under Gorbachev, ed. Helena Goscilo and Byron Lindsey (Ann Arbor, MI: Ardis, 1990), pp. 379–82.

Helena Goscilo, “Paradigm Lost? Contemporary Women’sFiction,” inWomenWrit-ers in Russian Literature, ed. Toby W. Clyman and Diana Greene (Westport, CT: Praeger, 1994), pp. 205–28, esp. 219–20.

Notes to pages 233–41 267

Ludmilla Petrushevskaya, The Time: Night, trans. Sally Laird (Evanston, IL: Northwestern University Press, 1994), p. 13.

Natalya Shrom, Literatura sovremennoi Rossii 1987-2003: Uchebnoe posobie (Moscow: Abraziv, 2005), pp. 126-32.

Viktor Erofeyev, “Anna’s Body,” trans. Leonard J. Stanton from author’s manuscript, in Glasnost: An Anthology of Russian Literature under Gorbachev, ed. Helena Goscilo and Byron Lindsey (Ann Arbor, MI: Ardis, 1990), pp. 379-82.

Mikhail N. Epstein, “Postmodernism, Communism, and Sots-Art,” in Endquote: Sots-Art Literature and Soviet Grand Style, trans. John Meredig, ed. Marina Balina, Nancy Condee, and Evgeny Dobrenko (Evanston, IL: Northwestern University Press, 2000), pp. 3-31.

A good reading from each tradition exists in English: for the liberal-humanist critique, see Ellen B. Chances, “Pushkin House: The Riddles of Life and Literature,” ch. 11, Andrei Bitov: The Ecology of Inspiration (Cambridge: Cambridge University Press, 1993), pp. 202-24; for the postmodernist interpretation, Mark Lipovetsky, “Sacking the Museum: Andrei Bitov’s Pushkin House, ch. 2 in Russian Postmodernist Fiction: Dialogue with Chaos, ed. Lipovetsky with Eliot Borenstein (Armonk and London: M. E. Sharpe, 1999), pp. 39-65.

Andrei Bitov, Pushkin House, trans. Susan Brownsberger (Normal, IL: Dalkey Archive Press, 1987), p. 71.

See Henrietta Mondry, “The Russian Literary Press, 1993-98: Critics Reach Reconciliation with Their Audience,” in Russian Literature in Transition, ed. Ian K. Lilly and Henrietta Mondry (Nottingham: Astra Press, 1999), pp. 105-26, especially 112-14.

See Lipovetsky, Russian Postmodernist Fiction, pp. 197-219; also the discussion by Slobodanka Vladiv-Glover, “Heterogeneity and the Russian Post-Avant-Garde: The Excremental Poetics of Vladimir Sorokin,” in Russian Postmodernism: New Perspectives on Post-Soviet Culture, ed. Mikhail N. Epstein, Alexander A. Genis, and Slobodanka M. Vladiv-Glover (New York: Berghahn, 1999), pp. 269-98.

Sally Laird, “Introduction” to Vladimir Sorokin, The Queue (New York and London: Readers International, 1988), p. i.