Yankees in Petrograd, Bolsheviks in New York examines the myth of America as the Other World at the moment of transition from the Russian to the Soviet version. The material on which Milla Fedorova bases her study comprises a curious phenomenon of the waning nineteenth and early twentieth centuries—pilgrimages to America by prominent Russian writers who then created travelogues. The writers' missions usually consisted of two parts: the physical journey, which most of the writers considered as ideologically significant, and the literary fruit of the pilgrimages. Until now, the American travelogue has not been recognized and studied as a particular kind of narration with its own canons. Arguing that the primary cultural model for Russian writers' journey to America is Dante's descent into Hell, Federova ultimately reveals how America is represented as the country of "dead souls" where objects and machines have exchanged places with people, where relations between the living and the dead are inverted.

Since the mid-19th century crime fiction has been one of the most popular sub-genres of the novel. In this Very Short Introduction, Richard Bradford explores its origins and the features that define its varied style. He considers its role in popular culture around the world and considers why its classification as "literature" is still ambiguous.

In Soviet Salvage, Catherine Walworth explores how artists on the margins of the Constructivist movement of the 1920s rejected “elitist” media and imagined a new world, knitting together avant-garde art, imperial castoffs, and everyday life. Applying anthropological models borrowed from Claude Lévi-Strauss, Walworth shows that his mythmaker typologies—the “engineer” and “bricoleur”—illustrate, respectively, the canonical Constructivists and artists on the movement’s margins who deployed a wide range of clever make-do tactics. Walworth explores the relationships of Nadezhda Lamanova, Esfir Shub, and others with Constructivists such as Aleksei Gan, Varvara Stepanova, and Aleksandr Rodchenko. Together, the work of these artists reflected the chaotic and often contradictory zeitgeist of the decade from 1918 to 1929 and redefined the concept of mass production. Reappropriated fragments of a former enemy era provided a wide range of play and possibility for these artists, and the resulting propaganda porcelain, film, fashion, and architecture tell a broader story of the unique political and economic pressures felt by their makers. An engaging multidisciplinary study of objects and their makers during the Soviet Union’s early years, this volume highlights a group of artists who hover like free radicals at the border of existing art-historical discussions of Constructivism and deepens our knowledge of Soviet art and material culture.

Commemorating the October 2017 centenary of the Russian Revolution, an anthology of wide-ranging voices and scholarship throwing fresh light on this momentous historical event. This October the world commemorates the centenary of the Russian Revolution, one of the crucial moments of the twentieth century, and an event passionately fought over by those on all sides of the political spectrum. Revolution! will contain writing by Russians and by foreigners who went to Russia and for whom the Russian Revolution was a political litmus test. The themes—hunger and heating, the limits of personal freedom, the infallibility of the party, free love, the role of art in the revolution—dominated twentieth century intellectual life and continue to resonate today. Many books on the Russian Revolution will be published in the centenary year, but Revolution! will be unique in portraying this momentous event through the writings of those who witnessed it (or its immediate after-effects). Following No Man’s Land and No Pasaran, it is an anthology that vividly portrays the many sides of an event that changed the course of world history—and is still contested today. “Leninists, Bolsheviks, anarchists and communists, thugs, registered housebreakers – what a muddle! What a Satanic vinaigrette! What immense work – to raise once more and cleanse from all this garbage the great idea of socialism.” —Teffi

This book examines the staggering popularity of early-twentieth-century Russian detective serials. Traditionally maligned as “Pinkertonovshchina,” these appropriations of American and British detective stories featuring Nat Pinkerton, Nick Carter, Sherlock Holmes, Ethel King, and scores of other sleuths swept the Russian reading market in successive waves between 1907 and 1917, and famously experienced a “red” resurgence in the 1920s under the aegis of Nikolai Bukharin. The book presents the first holistic view of “Pinkertonovshchina” as a phenomenon, and produces a working model of cross-cultural appropriation and reception. The “red Pinkerton” emerges as a vital “missing link” between pre- and post-Revolutionary popular literature, and marks the fitful start of a decades-long negotiation between the regime, the author, and the reading masses.

A comprehensive account of the influence of occult beliefs and doctrines on intellectual and cultural life in twentieth-century Russia.

“Discover some curiosities and some genuinely fascinating, powerfully resonant works” in this Book Riot 50 Must-Reads of Slavic Literature selection (Kirkus Reviews). A constant thread woven throughout the history of Russian literature is that of fantasy and an escape from the bounds of realism. Worlds Apart is the first single-volume anthology that explores this fascinating and dominant theme of Russian literature—from its origins in the provincial folk tale, through its emergence in the Romantic period in the tales of Pushkin, Lermontov, and Turgenev, to its contemporary incarnation under the clouds of authoritarianism, revolution, mechanization, and modernization—with all-new translations of the key literary masterpieces that reveal the depth and ingenuity of the Russian imagination as it evolved over a period of tumultuous political, social, and technological upheaval. Alexander Levitsky, perhaps the world’s foremost expert on this genre, has selected and provided engaging and informative introductions to the selections that simultaneously represent the works of Russia’s best authors and reveal the dominant themes of her history. The authors range from familiar figures—Pushkin, Lermontov, Turgenev, Gogol, Dostoevsky, Bulgakov, and Bely—to writers practically unknown outside the Slavic world such as Derzhavin, Bulgarin, Kuprin, and Pilniak. Worlds Apart is an awe-provoking anthology with a compelling appeal both to the fantasy enthusiast and anyone with an abiding interest in Russian history and culture.

This book, first published in 1957, provides essential information on the entire field of Russian literature, as well as a great deal on literary criticism, journalism, philosophy, theatre and related subjects. Russian literary tradition has tended to blur the distinctions between social and political criticism on one hand, and literary criticism on the other, and even, to an extent, the distinction between philosophy and literature. Although intended primarily as a reference work, this book also contains much critical analysis.

An essential exploration of how Russian ideas about the United States shaped architecture and urban design from the czarist era to the fall of the U.S.S.R. Idealized representations of America, as both an aspiration and a menace, played an important role in shaping Russian architecture and urban design from the American Revolution until the fall of the Soviet Union. Jean-Louis Cohen traces the powerful concept of “Amerikanizm” and its impact on Russia’s built environment from early czarist interest in Revolutionary America, through the spectacular World’s Fairs of the 19th century, to department stores, skyscrapers, and factories built in Russia using American methods during the 20th century. Visions of America also captivated the Russian avant-garde, from El Lissitzky to Moisei Ginzburg, and Cohen explores the ongoing artistic dialogue maintained between the two countries at the mid-century and in the late Soviet era, following a period of strategic competition. This first major study of Amerikanizm in the architecture of Russia makes a timely contribution to our understanding of modern architecture and its broader geopolitics.