The Cambridge Introduction to Russian Literature

Konstantin V Kustanovich, “Vladimir Georgievich Sorokin,” in Russian Writers since 1980, ed. Marina Balina and Mark Lipovetsky (Detroit: Gale, 2004), p. 305.

A portion of the first part of The Norm (plus summary of remaining episodes) was translated by Keith Gessen in the journal n +1, no. 1 (Fall 2004): 75-95; the “Nose” / norm episode is on pp. 83-86.

Interview with Vladimir Sorokin by Anna Narinskaya, “Ya vypolnil rol' kul'turologicheskogobul'dozera,” Kommersant- Weekend, June 1, 2007.

Alexander Genis, “Borders and Metamorphoses: Viktor Pelevin in the Context of Post-Soviet Literature,” in Russian Postmodernism, ed. Epstein, Genis, and Vladiv-Glover, pp. 212-24, esp. 207.

For this discussion of Pelevin as a second-generation postmodernist (or perhaps not one at all but some transitional, more “sincere” third category), see Ellen Rutten, Unattainable Bride Russia: Engendering Nation, State and Intelligentsia in Twentieth-Century Russian Literature (Groningen, 2005), pp. 202-09, esp. 202.

268 Notes to pages 241–49

For good English-language discussions of Pelevin, see two by Gerald McCausland: his entry “Viktor Olegovich Pelevin” in Russian Writers since 1980, ed. Balina and Lipovetsky, pp. 208-19, and “Viktor Pelevin and the End of Sots-Art,” in Endquote, ed. Balina, Condee, and Dobrenko, pp. 225-37.

Vitaly Chernetsky, MappingPostcommunist Cultures: Russia and Ukraine in the Context of Globalization (Montreal: McGill-Queen’s University Press, 2007), p. 107.

Victor Pelevin, Oman Ra, trans. Andrew Bromfield (London: Harboard Publishing, 1994), pp. 26-27.

Victor Pelevin, Buddha’s LittleFinger, trans. Andrew Bromfield (New York: Penguin, 2001), p. 23.

Lipovetsky, Russian Postmodernist Fiction, p. 196.

Boris Akunin, The Winter Queen, trans. Andrew Bromfield (New York: Random House, 2003), pp. 9-10. All further references in the text are to this translation.

For the parameters of sex crimes and for Russian bias against materialist acquisition, see Anthony Olcott, “Crime, Sex and Sex Crimes,” ch. 2, Russian Pulp: The Detektiv and the Russian Way of Crime (Lanham, MD: Rowman and Littlefield Publishers, 2001), pp. 50-63.

A. Chekhov / B. Akunin, Chaika. Komediia i ee prodolzhenie (Moscow: Mosty Kul'tury, 2000). For a discussion in English, see Volha Isakava, “Postmodernism Revisited: The Seagull by Boris Akunin,” in Anton Pavlovich Chekhov: Poetics -Hermeneutics - Thematics, ed. J. Douglas Clayton (Ottawa: Slavic Research Group at the University of Ottawa, 2006), pp. 267-85.

See Leon Aron, “A Champion for the Bourgeoisie: Reinventing Virtue and Citizenship in Boris Akunin’s Novels,” The National Interest (Spring 2004): 149-57. Aron, Director of Russian Studies at the American Enterprise Institute, considers the Akunin boom a moral and sociopolitical triumph, a continuation of the anti-intelligentsia campaign launched by the Idealist authors of the Landmarks essays of 1909.

“Jasper Rees meets Boris Akunin,” Electronic Telegraph (UK), April 17, 2004.

This point is made by Aron, “A Champion for the Bourgeoisie,” p. 149. Akunin’s English-language translator (or perhaps publisher) does not include this dedication in its Fandorin Series paperback.

Dmitry Prigov, “Dialogue No. 5,” from the bilingual anthology In the Grip of Strange Thoughts: Russian Poetry in a New Era, selected and edited by J. Kates (Brookline, MA: Zephyr Press, 1999), pp. 260-63.

V B. Kataev, Igra v oskolki: sud 'by russkoi klassiki v epokhupostmodernizma (Moscow: Izdatel'stvo moskovskogo universiteta, 2002), p. 230.

M. M. Bakhtin, “The Art of the Word and the Culture of Folk Humor (Rabelais and Gogol'),” in Semiotics and Structuralism, ed. Henryk Baran (White Plains, NY: IASP, 1976), p. 293.

Glossary

Pronunciations and definitions of Russian words, names, places, and texts