Soviet Samizdat traces the emergence and development of samizdat, one of the most significant and distinctive phenomena of the late Soviet era, as an uncensored system for making and sharing texts. Based on extensive research of the underground journals, bulletins, art folios and other periodicals produced in the Soviet Union from the mid-1950s to the mid-1980s, Ann Komaromi analyzes the role of samizdat in fostering new forms of imagined community among Soviet citizens. Dissidence has been dismissed as an elite phenomenon or as insignificant because it had little demonstrable impact on the Soviet regime. Komaromi challenges these views and demonstrates that the kind of imagination about self and community made possible by samizdat could be a powerful social force. She explains why participants in samizdat culture so often sought to divide "political" from "cultural" samizdat. Her study provides a controversial umbrella definition for all forms of samizdat in terms of truth-telling, arguing that the act is experienced as transformative by Soviet authors and readers. This argument will challenge scholars in the field to respond to contentions that go against the grain of both anthropological and postmodern accounts. Komaromi's combination of literary analysis, historical research, and sociological theory makes sense of the phenomenon of samizdat for readers today. Soviet Samizdat shows that samizdat was not simply a tool of opposition to a defunct regime. Instead, samizdat fostered informal communities of knowledge that foreshadowed a similar phenomenon of alternative perspectives challenging the authority of institutions around the world today.

In many ways what is identified today as “cultural globalization” in Eastern Europe has its roots in the Cold War phenomena of samizdat (“do-it-yourself” underground publishing) and tamizdat (publishing abroad). This volume offers a new understanding of how information flowed between East and West during the Cold War, as well as the much broader circulation of cultural products instigated and sustained by these practices. By expanding the definitions of samizdat and tamizdat from explicitly political print publications to include other forms and genres, this volume investigates the wider cultural sphere of alternative and semi-official texts, broadcast media, reproductions of visual art and music, and, in the post-1989 period, new media. The underground circulation of uncensored texts in the Cold War era serves as a useful foundation for comparison when looking at current examples of censorship, independent media, and the use of new media in countries like China, Iran, and the former Yugoslavia.

The nearly forgotten story of Soviet dissidents It has been nearly three decades since the collapse of the Soviet Union—enough time for the role that the courageous dissidents ultimately contributed to the communist system's collapse to have been largely forgotten, especially in the West. This book brings to life, for contemporary readers, the often underground work of the men and women who opposed the regime and authored dissident texts, known as samizdat, that exposed the tyrannies and weaknesses of the Soviet state both inside and outside the country. Peter Reddaway spent decades studying the Soviet Union and got to know these dissidents and their work, publicizing their writings in the West and helping some of them to escape the Soviet Union and settle abroad. In this memoir he captures the human costs of the repression that marked the Soviet state, focusing in particular on Pavel Litvinov, Larisa Bogoraz, General Petro Grigorenko, Anatoly Marchenko, Alexander Podrabinek, Vyacheslav Bakhmin, and Andrei Sinyavsky. His book describes their courage but also puts their work in the context of the power struggles in the Kremlin, where politicians competed with and even succeeded in ousting one another. Reddaway's book takes readers beyond Moscow, describing politics and dissident work in other major Russian cities as well as in the outlying republics.

The 'nationality question' was long central to Soviet thought and policy, and the failure to provide a convincing answer played a major role in the break-up of the Soviet Union into ethnically or nationally defined states. Zisserman-Brodsky explores various explanations of nationalism and its resurgence through a close and unprecedented examination of dissident writings of diverse ethnic groups in the former Soviet Union, thereby bridging macro-theory with micro-politics. Dissident ethnic networks were a crucial independent institution in the Soviet Union, and a basis of civil society. Voicing the discontent and resentment of the periphery at the policies of the centre or metropole, the dissident writings, known as samizdat highlighted anger at deprivations imposed in the political, cultural, social and economic spheres. Ethnic dissident writings drew on values both internal to the Soviet system and international as sources of legitimation; they met a divided reaction among Russians, with some privileging the unity of the Soviet Union and others sympathetic to the rhetoric of national rights. This focus on national, rather than individual, rights helps explain developments since the fall of the Soviet Union, including the prevalence of authoritarian governments in newly independent states of the former Soviet Union.

Literature that was self-published and informally circulated in the former Soviet Union in order to evade censorship, in addition to prosecution of its authors, came to be known as samizdat. Vasilii Aksenov, Andrei Bitov, and Venedikt Erofeev were among its most acclaimed practitioners. In her innovative study, Ann Komaromi uses their work to argue for a far more sophisticated understanding of the phenomenon of samizdat, showing how the material circumstances of its creation and dissemination exercised a profound influence on the very idea of dissidence. When a text comes to life as samizdat, it necessarily reconfigures the relationship between author and reader. Using archival research to fully illustrate samizdat’s social and historical context, Komaromi arrives at a more nuanced theoretical position that breaks down the opposition between the autonomous work of art and direct political engagement. The similarities between samizdat and digital culture give her formulation of dissident subjectivity particular contemporary relevance.

This anthology of texts by Czech literary scientists presents the phenomenon of the samizdat and its historical transformation. The chapters primarily focus on the definition of the samizdat itself as well as the extensive controversy over the concept of unofficial literature. The scholars also pay attention to the origin, development and characteristics of the various samizdat editions; individual chapters are devoted to underground production and censorship. One chapter deals with the relationship between domestic samizdat production and exile literature. In the final chapters of the publication, samizdat is covered also in the international context, in particular in the Polish and Russian contexts. This book, Samizdat Past and Present, is a representative publication presenting the diverse forms of samizdat and has the potential to become a basic guide on the issue.

Winner of the 2022 CHOICE Outstanding Academic Titles Samizdat, the production and circulation of texts outside official channels, was an integral part of life in the final decades of the Soviet Union. But as Josephine von Zitzewitz explains, while much is known about the texts themselves, little is available on the complex communities and cultures that existed around them due to their necessarily secretive, and sometimes dissident, nature. By analysing the behaviours of different actors involved in Samizdat – readers, typists, librarians and the editors of periodicals in 1970s Leningrad, The Culture of Samizdat fills this lacuna in Soviet history scholarship. Crucially, as well as providing new insight into Samizdat texts, the book makes use of oral and written testimonies to examine the role of Samizdat activists and employs an interdisciplinary theoretical approach drawing on both the sociology of reading and book history. In doing so, von Zitzewitz uncovers the importance of 'middlemen' for Samizdat culture. Diligently researched and engagingly written, this book will be of great value to scholars of Soviet cultural history and Russian literary studies alike.

“The Big Green Tent, for all its grand ambition, manages an intimacy that can leave a reader reeling . . . a masterpiece.” ―Colin Dwyer, NPR With epic breadth and intimate detail, Ludmila Ulitskaya’s remarkable novel tells the story of three school friends who meet in Moscow in the 1950s and go on to embody the heroism, folly, compromise, and hope of the Soviet dissident experience. These three boys—an orphaned poet; a gifted pianist; and a budding photographer with a talent for collecting secrets—struggle to reach adulthood in a society where their heroes have been censored and exiled. Rich with love stories, intrigue, and a cast of dissenters and spies, The Big Green Tent offers a panoramic survey of life after Stalin and a dramatic investigation into the prospects for individual integrity in a society defined by the KGB. Each of the central characters seeks to transcend an oppressive regime through art, literature, and activism. And each of them ends up face-to-face with a secret police that is highly skilled at fomenting paranoia, division, and self-betrayal. Ludmila Ulitskaya’s novel is a revelation of life in dark times. “As grand, solid and impressively all-encompassing as the title implies . . . Ulitskaya's readers will find it hard not to imagine themselves in her characters' place, to ponder what choices we'd make in similar situations.” ―Lara Vapnyar, The New York Times Book Review “A gripping tale.” ―Leonid Bershidsky, The Atlantic “Compelling, addictive reading.” ―Masha Gessen, The New Yorker “[Ulitskaya] writes page-turners that just happen to be monumentally important.” ―Boris Kachka, New York magazine “Worthy of shelving alongside Doctor Zhivago: memorable and moving.” ―Kirkus Reviews, starred review