From Vladimir Voinovich, one of the great satirists of contemporary Russian literature, comes a new comic novel about the absurdity of politics and the place of the individual in the sweep of human events. Monumental Propaganda, Voinovich’s first novel in twelve years, centers on Aglaya Stepanovna Revkina, a true believer in Stalin, who finds herself bewildered and beleaguered in the relative openness of the Khrushchev era. She believes her greatest achievement was to have browbeaten her community into building an iron statue of the supreme leader, which she moves into her apartment after his death. And despite the ebb and flow of political ideology in her provincial town, she stubbornly, and at all costs, centers her life on her private icon. Voinovich’s humanely comic vision has never been sharper than it is in this hilarious but deeply moving tale–equally all-seeing about Stalinism, the era of Khrushchev, and glasnost in the final years of Soviet rule. The New York Times Book Review called his classic work, The Life & Extraordinary Adventures of Private Ivan Chonkin, “a masterpiece of a new form–socialist surrealism . . . the Soviet Catch-22 written by a latter-day Gogol." In Monumental Propaganda we have the welcome return of a truly singular voice in world literature.
Vladimir Voinovich’s Tribunal: A Courtly Comedy in Three Acts is a scathing satire on the 1960s/1970s Soviet show-trials by one of the most famous Soviet dissidents, who was sometimes called Russia’s ‘greatest living satirist.’ Based upon his reaction to the Sinyavski/Daniel trial in 1966, which caused him to begin to write harshly critical letters to Premier Leonid Brezhnev and finally resulted in his expulsion from the Soviet Union in 1981, Voinovich’s Tribunal is a monument to the Soviet dissidents of the Cold War period and a sardonic critique of the censorship and persecution of dissident writers everywhere. Voinovich’s classic comedy describes the black humoresque high jinks and outrageous shenanigans that ensue when an unsuspecting couple of Soviet citizens, Senya and Larissa Suspectnikoff, clutching their free tickets in their innocent hands, walk into a crowded theatre, expecting to watch a Chekhovian comedy, only to become caught up in the sinister machinations of a Soviet criminal tribunal and its madcap version of the Moscow show trials.
Ivan Chonkin is a simple, bumbling peasant who has been drafted into the Red Army. Shortly before the outbreak of World War II, he is sent to an obscure village with one week's ration of canned meat and orders to guard a downed plane. Apparently forgotten by his unit, Chonkin resumes his life as a peasant and passes the war peacefully tending the village postmistress's garden. Just after the German invasion, the secret police discover this mysterious soldier lurking behind the front line. Their pursuit of Chonkin and his determined resistance lead to wild skirmishes and slapstick encounters. Vladimir Voinovich's hilarious satire ridicules everything that was sacred in the Soviet Union, from agricultural reform to the Red Army to Stalin, in a refreshing combination of dissident conscience and universal humor.
A Displaced Person follows a series of random events that brings Chonkin to the United States, where he becomes a farmer and, eventually, a member of a congressional delegation sent to the Soviet Union in 1989, during perestroika, to discuss agriculture with the Soviet leader Mikhail Gorbachev.
From Vladimir Voinovich, one of the great satirists of contemporary Russian literature, comes a new comic novel about the absurdity of politics and the place of the individual in the sweep of human events. Monumental Propaganda, Voinovich’s first novel in twelve years, centers on Aglaya Stepanovna Revkina, a true believer in Stalin, who finds herself bewildered and beleaguered in the relative openness of the Khrushchev era. She believes her greatest achievement was to have browbeaten her community into building an iron statue of the supreme leader, which she moves into her apartment after his death. And despite the ebb and flow of political ideology in her provincial town, she stubbornly, and at all costs, centers her life on her private icon. Voinovich’s humanely comic vision has never been sharper than it is in this hilarious but deeply moving tale–equally all-seeing about Stalinism, the era of Khrushchev, and glasnost in the final years of Soviet rule. The New York Times Book Review called his classic work, The Life & Extraordinary Adventures of Private Ivan Chonkin, “a masterpiece of a new form–socialist surrealism . . . the Soviet Catch-22 written by a latter-day Gogol." In Monumental Propaganda we have the welcome return of a truly singular voice in world literature.
Vladimir Voinovich’s Tribunal: A Courtly Comedy in Three Acts is a scathing satire on the 1960s/1970s Soviet show-trials by one of the most famous Soviet dissidents, who was sometimes called Russia’s ‘greatest living satirist.’ Based upon his reaction to the Sinyavski/Daniel trial in 1966, which caused him to begin to write harshly critical letters to Premier Leonid Brezhnev and finally resulted in his expulsion from the Soviet Union in 1981, Voinovich’s Tribunal is a monument to the Soviet dissidents of the Cold War period and a sardonic critique of the censorship and persecution of dissident writers everywhere. Voinovich’s classic comedy describes the black humoresque high jinks and outrageous shenanigans that ensue when an unsuspecting couple of Soviet citizens, Senya and Larissa Suspectnikoff, clutching their free tickets in their innocent hands, walk into a crowded theatre, expecting to watch a Chekhovian comedy, only to become caught up in the sinister machinations of a Soviet criminal tribunal and its madcap version of the Moscow show trials.
A Displaced Person follows a series of random events that brings Chonkin to the United States, where he becomes a farmer and, eventually, a member of a congressional delegation sent to the Soviet Union in 1989, during perestroika, to discuss agriculture with the Soviet leader Mikhail Gorbachev.
Ivan Chonkin is a simple, bumbling peasant who has been drafted into the Red Army. Shortly before the outbreak of World War II, he is sent to an obscure village with one week's ration of canned meat and orders to guard a downed plane. Apparently forgotten by his unit, Chonkin resumes his life as a peasant and passes the war peacefully tending the village postmistress's garden. Just after the German invasion, the secret police discover this mysterious soldier lurking behind the front line. Their pursuit of Chonkin and his determined resistance lead to wild skirmishes and slapstick encounters. Vladimir Voinovich's hilarious satire ridicules everything that was sacred in the Soviet Union, from agricultural reform to the Red Army to Stalin, in a refreshing combination of dissident conscience and universal humor.
This hilarious novel follows the continuing adventures of the simple peasant Ivan Chonkin, who has been arrested as a traitor to the motherland after spending World War II happily tending a garden. Lacking evidence against him, the bumbling bureaucrats base their case on a rumor in his home village that he is the illegitimate son of a prince. The comic case of mistaken identity escalates as they accuse this unlikely prince of working in league with Hitler to restore the monarchy. In this sequel to The Extraordinary Life and Adventures of Private Ivan Chonkin, Voinovich ridicules everything that was sacred in the Soviet Union - including the army, the justice system, the press, and Stalin - in a refreshing combination of dissident conscience and universal humor.
In this unprecedented work on the status and role of intellectuals in Soviet political life, a former Soviet sociologist maps out the delicate, often paradoxical, ties between the political regime and the creative thinkers who play a major part in the movement toward modernization. Beginning with Stalin, Vladimir Shlapentokh explores the mutual need and antagonism that have existed between political leaders and intellectuals. What emerges is a fascinating portrayal of the Soviet intellectual network since the 1950s, which touches on such topics as the role of literature and film in political opposition, levels of opposition (open, legal, and private), and the spread of paranoia as fueled by the KGB. Throughout he shows how the intellectual communityusually a cohesive, liberal grouphas fared under Khrushchev's cautious tolerance, Brezhnev's repressions, and now Gorbachev's Glasnost. Shlapentokh maintains, however, that under Glasnost freer speech has revealed a more pronounced divergence between liberal and conservative thinkers, and has allowed for open conservative opposition to the reformatory measures of Gorbachev and the liberals. He argues that one of the strongest checks on reform is the growing presence of Russophilism--a movement supporting Russian nationalism and Stalin's concept of socialism--among the political elite and the masses. Although the role of the liberal intellectuals in the late 1980s was less prominent than it was in the 1960s, Shlapentokh asserts that they remain the major agent of modernization in the Soviet Union, as well as in other socialist countries. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
This book studies the cultural, societal, and ideological factors absent from popular discourse on Vladimir Putin’s Russia, contesting the misleading mainstream assumption that Putin is the all-powerful sovereign of Russia. In carefully examining the ideological underpinnings of Putinism—its tsarist and Soviet elements, its intellectual origins, its culturally reproductive nature, and its imperialist foreign policy—the authors reveal that an indoctrinating ideology and a willing population are simultaneously the most crucial yet overlooked keys to analyzing Putin’s totalitarian democracy. Because Putinism is part of a global wave of extreme political movements, the book also reaffirms the need to understand—but not accept—how and why nation-states and masses turn to nationalism, authoritarianism, or totalitarianism in modern times.
First published in 1988, The Crisis of Marxist Ideology in Eastern Europe states that since de-Stalinisation began in Eastern Europe, the ‘dead hand’ of institutional Marxism has been eroded by revisionist Marxism, with the turn to young Marx and the philosophy of human emancipation to undermine prevailing orthodoxies. But this revisionism clung to the old socialist dogmas and refused a total break with the system, and the effort eventually failed. The result was the emergence of a dissident counterculture rejecting the system entirely. Independent social movements (such as unofficial peace groups and trade unions like Solidarity) have given this counterculture a major role in Eastern Europe, whilst the ruling elites have responded with confusion. Tismaneanu concludes that the only hope for the anti-totalitarian intellectuals of Eastern Europe is to oppose the regimes with non-Marxist ideas – otherwise they will be permanently reduced to the status of a hopeless, albeit heroic minority. This book will be of interest to students of economics, political science and international relations.
The Karamazov Correspondence: Letters of Vladimir S. Soloviev represents the first fully annotated and chronologically arranged collection of the Russian philosopher-poet’s most important letters, the vast majority of which have never before been translated into English. Soloviev was widely known for his close association with Fyodor M. Dostoevsky in the final years of the novelist’s life, and these letters reflect many of the qualities and contradictions that also personify the title characters of Dostoevsky’s last and greatest novel, The Brothers Karamazov. The selected letters cover all aspects of Soloviev’s life, ranging from vital concerns about human rights and the political and religious turmoil of his day to matters related to family and friends, his love life, and early drafts of his works, including poetic endeavors.
The KGB Plays Chess is a unique book. For the first time it opens to us some of the most secret pages of the history of chess. The battles about which you will read in this book are not between chess masters sitting at the chess board, but between the powerful Soviet secret police, known as the KGB, on the one hand, and several brave individuals, on the other. Their names are famous in the chess world: Viktor Kortschnoi, Boris Spasski, Boris Gulko and Garry Kasparov became subjects of constant pressure, blackmail and persecution in the USSR. Their victories at the chess board were achieved despite this victimization. Unlike in other books, this story has two perspectives. The victim and the persecutor, the hunted and the hunter, all describe in their own words the very same events. One side is represented by the famous Russian chess players Viktor Kortschnoi and Boris Gulko. For many years they fought against a powerful system, and at the end they were triumphant. The Soviet Union collapsed and they got what they were fighting for: their freedom. Former KGB Lieutenant Colonel Vladimir Popov, who left Russia in 1996 and now lives in Canada, was one of those who had worked all his life for the KGB and was responsible for the sport sector of the USSR. It is only now for the first time that he has decided to tell the reader his story of the KGB�s involvement in Soviet Sports. This is his first book, and it is not only full of sensations, but it also dares to name names of secret KGB agents previously known only as famous chess masters, sportsmen or sport officials. Just a few short years ago a book like this would have been unimaginable. Read this book. It is not only about chess. It is about glorious victory of the great chess masters over the forces of darkness.
Russian Nights, Vladimir Fedorovich Odoevsky's major work, is of great importance in Russian intellectual history. This captivating novel is the summation of Odoevsky's views and interests in many fields: Gothic literature, romanticism, mysticism, the occult, social responsibility, Westernization, utopia and anti-utopia. Compared variously to The Decameron, to Hoffman's Serapion Brethren, and the Platonic dialogues, Russian Nights is a mixture of genres - a series of romantic and society tales framed by Odoevsky's musings on the main strands of Russian thought of the 1820s and 1830s. This is a unique work of Russian literature, and a key sourcebook for Russian romanticism and Russian social and aesthetic thought of its epoch.
No marriage of a major twentieth-century writer is quite as beguiling as that of Vladimir Nabokov’s to Véra Slonim. She shared his delight at the enchantment of life’s trifles and literature’s treasures, and he rated her as having the best and quickest sense of humor of any woman he had met. From their first encounter in 1923, Vladimir’s letters to Véra chronicle a half-century-long love story, one that is playful, romantic, and memorable. At the same time, the letters reveal much about their author. We see the infectious fascination with which Vladimir observed everything—animals, people, speech, landscapes and cityscapes—and glimpse his ceaseless work on his poems, plays, stories, novels, memoirs, screenplays, and translations. This delightful volume is enhanced by twenty-one photographs, as well as facsimiles of the letters and the puzzles and drawings Vladimir often sent to Véra. With 8 pages of photographs and 47 illustrations in text
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