A Motherland of Books: An Essay by Maria Bloshteyn

Taking your beloved books with you into immigration is intimately familiar to those of us who left the Soviet Union. My parents’ двухсоттомник—”200-volume set”—of Russian and world literature, was quite literally my lifeline to the language and culture that I may have otherwise forgotten, and they are still the editions I turn to today. The covers of the volumes are different colors, and some key moments of my life are associated with them, such as the dark green of Gogol’s Мертвые души (Dead Souls) when I started college. Reading Maria Bloshteyn’s essay was genuinely heart-wrenching, because the experience she describes is that of an acute loss of books that mean so much to us, not just for their content, but perhaps even more so because they have made the immigrants’ journey with us and sustained us in our new homes. In the current moment, this poignant essay is framed by the war in Ukraine, where people like us are losing not just their books, but their lives. If you are able to help, please support translators who are struggling due to the war and this initiative to give Ukrainian-language books to refugee children in Poland. Ukraine’s cultural sphere has been badly damaged by Russian forces, and we will continue to look for ways in which those of us in the West can help. Maria recently participated in the Born in the USSR, Raised in Canada event hosted by Punctured Lines, and you can listen to her read from an essay about reacting to the war in Ukraine while in the diaspora.

Maria Bloshteyn, A Motherland of Books

Written just before the war in Ukraine began, this essay elegizes the home libraries lovingly gathered and treasured by their owners in the Soviet era, these very libraries, with these very editions, that are being bombed today in Ukraine, along with their owners.

Surely our yellowed labels all spell doom

in letters too few learn, too few remember.

Boris Dralyuk, “Émigré Library”

The books are a heartache. I have been dreading this moment for years. My mother, the adored and formidable matriarch of our small family, had moved into a nursing home after struggling with dementia for the past several years. She doesn’t care now what will happen to the family library, but I do. These are, after all, the books that we brought with us from the Soviet Union, when we left it forever in 1979. I grew up looking at their spines both in our Leningrad flat and in our Toronto apartment: light brown for the complete edition of Pushkin, mauve for Heine’s poems, beige for Tolstoy’s collected works. The classics, the translated classics, the poetry chapbooks, the art albums, the subscription editions, children’s literature—they are all here. Once, they provided the continuity between the two vastly different worlds: one that was forever lost to us and the other that we were slowly learning to inhabit. Reading and rereading them kept me sane as I, rarely at a loss for words, found myself suddenly language-poor and unable to either defend myself against nasty verbal attacks I faced in school as the Russian kid, or to express myself adequately to friendlier others. 

These are the books that I am now packing into large cardboard boxes, as I am deciding their fate. Lowering them in, one by one, I think of the books that we weren’t allowed to bring with us as we left: most prominently, unfairly, and painfully, the single volume of Pushkin’s poems that my grandfather, part of the 13th Air Army during World War II, sent to my mother, evacuated to a village in the Urals. We weren’t allowed to take it, because it was published before some arbitrarily assigned cut-off year, which made it, ridiculously, a possible antiquity of value to the State. The passage of years hadn’t dimmed my sense of outrage. 

Dom knigi. Image credit: Google Images

The books that we were allowed to bring were mostly purchased by my parents during the years of their marriage. My father, whose promising law career was tanked by a prison term received as a result of taking the Soviet Codex of Labor Laws at face value, worked as an auditor for Dom knigi, the largest and most famous bookstore in Leningrad, located in a landmark building on Nevsky prospekt. Once a month, he would bring home a list of books available for purchase.  It was a privilege extended to the associates of Dom knigi. And a real privilege it was. 

The Soviet Union proclaimed itself to be the best-read country in the world. This boast was largely true. If you got onto a bus or a streetcar in the seventies, most passengers would be reading. Entertainment at home—where television meant two or three channels of largely boring programming—was also reading. Yet, if you walked into a book store, the selection of books available to an average customer without special connections was pathetically limited. You could choose from Leonid Brezhnev’s speeches and, if you were lucky, Lenin’s collected works. There was, however, a thriving black market for books. Francis Scott Fitzgerald’s collected works, for example, fetched ninety roubles on the black market—the monthly salary of an engineer. Books were a hot commodity and having access to books at the official prices (helpfully stamped onto the back cover) was a coveted benefit. Not that anyone ever resold books in our family—we bought our books for keeps. 

And so my father and mother would sit at the kitchen table, endlessly going over the list, comparing and contrasting, underlining, and debating with each other, as they chose the books that the family would be acquiring. Whichever books they selected, they’d have to make the same decision: would the family money go toward books or toward some needed items, say, for example, new clothes or pantyhose? Every single time, the decision was made in favor of books.

Later, when we would least expect it, my father would arrive home carrying a cardboard box, around which we’d all gather in eager anticipation. The opened box would release the heady smell of printer’s ink and paper—the intoxicating scent of new books. We’d take out the books one by one, resplendent in their glossy dust jackets, and admire them all. Next, we’d find a proper place for them on the bookshelves, among other books already residing there. And then we’d read them. Once the books were settled in, they were all equally accessible. That’s how I got to read Alberto Moravia and Georges Bernanos, whose vicious critiques of Western bourgeois society made them a logical choice for publication in the Soviet Union, as well as the first Russian translation of Jin Ping Mei, a scandalous 16th-century Chinese novel, all at the ripe old age of seven.

Then, in 1979, we left the USSR. We could have, theoretically, sold off the books, though it would have been emotionally wrenching, but the State helped us decide against that. At the time we left, we were only allowed to bring a small, almost symbolic amount of money with us, given that we were forced to sell whatever property we had, including our flat and our dacha. The money we received from the sales could just as well be spent on crates and packing material as on anything else. That settled it: the family library was accompanying us into the unknown. Our journey took us by airplane from Leningrad to Vienna, where we stayed for a few weeks in a seedy hotel previously used by the city’s sex workers, and then by train from Austria to Italy, where we spent both fall and winter in Ladispoli, a sleepy little seaside town not far from Rome, as we applied for entrance to Canada as refugees. We came to Canada in April of 1980 and then, what seemed like an eternity later, crates full of our books and other belongings finally arrived to our first Toronto apartment on Roselawn Avenue. I greeted the books with the joy and relief usually reserved for long-lost family members: here was the cure for loneliness, frustration, and boredom; here was the portal into other worlds that I could inhabit instead of the coldly unintelligible one in which I found myself.  

The books came, however, with an unexpected financial blow. It turned out that the money we had paid in the Soviet Union for shipping the books was not nearly enough. The crates sat in storage for months upon months and we had to pay the shipping company two thousand dollars in order to redeem them. The amount, substantial in any situation, was staggering to new arrivals with no financial reserves. But walking away from our books was not an option. My parents took out an interest-free loan from the Jewish Immigrant Aid Service. The family paid off that loan by sewing shoes—leather loafers. We’d pick up the large bags full of slips to be sewn together from the factory and then returned them there, completed, for $30 per bag. Although, to my shame, I never did get the hang of it, everyone else sewed, including my 80-year-old grandmother. It took about three years of loafer-sewing drudgery to repay the loan, but the books were worth it.

The books were there for us as no friends could ever be—a 24/7 resource to be reached for as support, entertainment, escape, and a source of wisdom. They were there as I grew up, went to university and to graduate school. They were there as I amassed my own library of books, in Russian as well as in English, got married, and had kids. My husband is Canadian-born and has no connections with Russia except through me. My kids read in English. The books that I am taking from the family library now will therefore be for my own use.  I can’t possibly keep all or even most of them—our many bookshelves at home are already overflowing with books and I have given up many of my other books to make space as it is. So now I’m deciding which books to keep and which books to donate to our multicultural resource library. They won’t be put on the library shelves—they’ll go to the book sale section, where anyone can purchase them for a symbolic sum that goes to fund the library. I know the book-sale section well. I picked up all kinds of treasures there over the years, all in fierce competition with other book hunters.

The author holding Anatole France’s collected works. Image credit: Maria Bloshteyn

The books I’m leaving at the book sale will be someone’s windfall to be treasured. Yet, I still feel like I am betraying the books. Their aged, weathered covers exude reproach. I might as well, like Shakespeare’s Prospero, be drowning them deeper than did ever plummet sound. I go again through the books that I’m giving away, pull several out of the boxes and set them aside, take a deep breath, and drive the boxes to the library. One of the librarians is Russian—she knows what I’m going through. If it wasn’t for Covid, I’d get a hug. “Don’t worry,” she says, “they’ll find good homes.” Maybe, but still… I go through the boxes again, just in case. I take the lid off one box and eight volumes of the collected works of Anatole France stare up at me. I never liked Anatole France. I can’t imagine dipping into one of his books for pleasure. But my mother loved his ironic detachment and reread his books more than once. Maybe that’s what I need now, I think to myself—ironic detachment… I pull out all eight volumes from the box, holding them close as I struggle to balance them in my arms. “I’m taking these home,” I say to the librarian. “I’m not letting go of them just yet.”

January 2022

Maria Bloshteyn was born in Leningrad and emigrated to Toronto when she was nine.  She received her PhD from Toronto’s York University and was a postdoctoral fellow at Columbia University. Her main scholarly interests lie in the field of literary and cultural exchange between Russia and the United States, with a special focus on Dostoevsky’s impact on American literature and culture. She is the author of The Making of a Counter-Culture Icon: Henry Miller’s Dostoevsky (University of Toronto Press, 2007), the translator of Alexander Galich’s Dress Rehearsal: A Story in Four Acts and Five Chapters (Slavica, 2009) and Anton Chekhov’s The Prank (NYRB Classics, 2015), and the editor of Russia is Burning: Poems of the Great Patriotic War (Smokestack Books, 2020).  Her articles appeared in a number of scholarly and not-so-scholarly journals and her translations have appeared in a number of journals and anthologies, including The Penguin Book of Russian Poetry (Penguin Classics, 2015). 

You Never Know When Speaking Russian Might Come in Handy …: An Essay by Alina Adams

It would be hard to overstate my love of both figure skating and detective fiction, which admittedly isn’t something one normally thinks of together. It is therefore beyond thrilling to feature this personal essay by Alina Adams, who has written a series of five figure skating murder mysteries (yes, really, and I plan to order every one of them). A prolific writer with several fiction and non-fiction titles, Alina’s most recent novel is The Nesting Dolls, which you can read about in the poignant and humor-filled conversation between her and Maria Kuznetsova that Olga recently organized on this blog. I loved reading the story Alina tells below about working as a Russian-speaking figure skating researcher (she must have had a hand in many of the broadcasts that I avidly watched), and I confess to losing, in the best possible way, some of my time to being nostalgically taken back to 1990s figure skating coverage through the two videos in the piece, one of which features Alina translating (for Irina Slutskaya! You all know who she is, right?! Right?!). Let yourself be transported to that marvelous skating era, get ready for all the figure skating at the Olympics next month . . . and watch out, there’s a murderer, or five, on the loose.

You Never Know When Speaking Russian Might Come in Handy…:
An Essay by Alina Adams

I immigrated to the United States from Odessa, (then-) USSR in 1977. I was seven years old. I spoke no English, only Russian. 

I was the sole Russian-speaker in my second grade class at Jewish Day School. When the other kids spoke to me in English, I responded in Russian. When the teacher gave us a writing assignment, I wrote it in Russian.

I was never, ever going to learn English!

And then I fell in love.

With television.

Television was where the happy children were. The ones who lived in a house with a big staircase to slide down, not an apartment where all the furniture looked exactly like the furniture of every other Russian-speaking family newly arrived in San Francisco (we assume Jewish Federation got a great deal on all the identical chairs, tables, and bedspreads). The ones who ate hamburgers instead of kotlety. The ones who drank bright red, cherry-flavored medicine with cartoon characters on the label when they had a cold instead of laying down to get banki applied to their backs, dry mustard applied to their front, and their feet dunked into boiling water.

I wanted to be like the happy children on television. So I learned English.

My parents still spoke to me in Russian. But what language I might deign to reply in was anybody’s guess.

My love for the happy children who lived inside the television extended to wanting to join them. Not as an actor. I knew I was too funny-looking for that. But I could be the person who wrote the words that the people inside the televisions said. That’s where the real power was.

Brian Boitano and Alina Adams (Photo courtesy of Alina Adams)

And those words would be in English!

Who needed Russian?

Cut to: Me. Freshly out of college with a degree in Broadcast Communication Arts. And looking for a job.

Flashback: I have a younger brother. He was born in the United States. He was a competitive figure skater (1996 U.S. Open Novice Ice Dance Champion). My immigrant parents had better things to do — like, you know, earning a living — than drive him to daily practice or chaperone him at competitions. So that became my job. 

I learned more about figure skating than I ever thought there was to know. 

Which is why, when it came time to apply for a job as a researcher and writer with ABC Sports’ ice skating department, I knew quite a bit.

Robin Cousins, Dick Button, and Alina Adams (Photo courtesy of Alina Adams)

But, guess what — so did a lot of other people (many of them former skaters themselves).

Except those other people didn’t speak Russian. 

And I did.

Suddenly, the language that once kept me from the happy people in the television was the one bringing me into it.

Thus began my years of traveling around the globe, from World Championships to international qualifiers to the 1998 Olympic Games in Nagano, Japan.

And back to the former USSR.

By the time I returned with an ABC crew to shoot profile features on the country’s top athletes, the Soviet Union had collapsed. It was Russia now. And Ukraine. And Belarus. And Armenia and three different Baltics and . . . (A fun game in the media truck was placing bets on which formerly Soviet skaters would declare themselves which ethnicity in order to ensure a place on the competitive team. For instance, the Ukrainian named Evgeni Plushenko and the Georgian-sounding Anton Sikharulidze competed for Russia, while the Russian-sounding Igor Pashkevitch represented Azerbaijan, as did Inga Rodionova. We’re not even counting Marina Anissina declaring herself French or Aljona Savchenko becoming German.)

Alina Adams with Terry Gannon, Peggy Fleming, and Dick Button (Photo courtesy of Alina Adams)

My job as a skating researcher included interviewing the skaters and their coaches to get all those fun tidbits the announcers share on the air: “She began skating at the age of three because her grandmother called her a typhoon and needed to stop her from bouncing around their communal apartment!” or “He is the first athlete from Estonia to win a bronze medal at the European Championships since…” (What? You thought Dick Button and Peggy Fleming generated those fun factoids all on their own?)

It also included visiting the skaters in their homes, interviewing them in Russian on camera, translating their replies and, once in a while, even dubbing their answers into Russian-accented English for the television profile. (You can listen to me doing two versions of the same accent, here. I am playing both Irina Slutskaya and her mother. If you scroll through to the end, you can see me translating her championship interview live on the air, too. On a different note, about six minutes into this video is a profile of Misha Shmerkin, a former fellow Odessa resident now representing Israel. Though you can’t hear me in the piece, I’m the one who asked him all the questions that he is answering on camera.)

The experience was disquieting, to say the least. Not because I was forcing my brain to operate 24/7 in a language I had deliberately pushed to the back of my conscience for almost two decades (and had no one to check my stupidity if I screwed up; the English-speaking production staff assumed everything I told them was accurate). It was because, in returning to the former USSR and going from home to home, interviewing people my age and my parents’ age, I was being confronted with the life I might have lived. 

Not as a competitive athlete. I didn’t have the talent or the drive for that. But as an ex-Soviet citizen, navigating a country that had collapsed around me, desperately trying to figure out what the new rules were while clinging to the old ones because they were the only ones I understood. I entered communal apartment after communal apartment. I ate the food they put out for us, understanding in a way my colleagues did not how hard it had been to get. I nodded as a skater’s mother whispered to me, “Don’t tell them my husband is Jewish,” and barely flinched when, while shooting inside a hospital for a piece on an injured skater, random cats wandered in and out of the wards. 

I was getting a glimpse of the life I might have led if my parents hadn’t made the decision to emigrate in the 1970s, when no one had a clue that the empire had less than twenty years of life left in it, or that return visits would become commonplace. When my parents took the chance to leave, it was like jumping off the edge of the world into an abyss. Nobody knew what the West had to offer or how they might survive there. And everybody understood that there would be no going back. It might as well have been a one-way mission to Mars.

My trips to the former USSR were an ongoing exercise in, “There but for the grace of God, go I.”

But I remembered what I’d seen there, and when, in 2002, following the (latest) Olympic judging scandal an editor at Berkley Prime Crime asked me to write a series of figure skating murder mysteries, I jumped at the chance. 

The chance to not only reveal all the behind-the-scenes gossip I couldn’t publish using skaters’ real names, but also to include the observations I’d made about life in the former USSR through the unique lens of elite athletes who’d survived the Soviet days and were now trying to make sense of the present. I could write about those who triumphed and those who slipped through the cracks. I could write about what was, and about who I might have been.

There are five books in the Figure Skating Mystery series. The third installment, Axel of Evil, takes place in Moscow and incorporates everything I saw, everything I heard, and everything I suspected when I worked there.

The first one, Murder on Ice, was based on the aformentioned 2002 Olympic judging scandal, where the Pairs judge was accused of favoring the Russian team over the Canadian one. In Murder on Ice, a judge is accused of giving the Ladies’ gold to Russia’s dour ice queen over America’s perky ice princess. And then the judge ends up dead (that didn’t happen in 2002). Who will investigate the crime? Why, none other than the trusty skating researcher! (Clearly, I subscribe to the policy of: Write What You Know.)

In Murder on Ice, I take all of the clichés that Americans have about Russians and (hopefully) turn them on their heads. In Axel of Evil, I continue that objective, but I do it by putting the American researcher, my heroine, Bex Levy, out of her element and onto Russian soil. Here, people are making as many assumptions about her as she is making about them. Clichés work both ways. In retrospect, I guess I was working out issues of being a Soviet-born American — whose life would have been very different had my family stayed in the USSR — by writing from the point of view of an American digging into the lives of those who left, as well as of those who stayed. I get to be both an insider and an outsider. I get to be the native and the other. I get to play the role of someone born in the US, and someone who grew up in the USSR. Because, in real life, I’ll always be somebody who is stuck in-between.

And I get to prove what my parents said all along. You never know when speaking Russian might come in handy . . . .

Alina Adams was born in Odessa, USSR and moved to the United States with her family in 1977. She has worked as a figure skating researcher, writer, and producer for ABC Sports, ESPN, NBC, and TNT. She is the author of Inside Figure Skating, Sarah Hughes: Skating To the Stars, and the figure skating mystery series consisting of Murder on Ice, On Thin Ice, Axel of Evil, Death Drop, and Skate Crime. Her historical fiction novel, The Nesting Dolls, traces three generations of a Soviet-Jewish family from Odessa to Brooklyn. Visit her website at: www.AlinaAdams.com

Olga Mark’s “The Lighter”: An Excerpt from Amanat, a Collection-in-Progress of Recent Women’s Writing from Kazakhstan

Shelley Fairweather-Vega on Amanat: Women’s Writing from Kazakhstan

The idea to translate and publish a collection of recent women’s writing from Kazakhstan grew out of my collaboration with Zaure Batayeva, a Kazakh writer and translator living in Belgium. Zaure contacted me in October 2016 when she wanted to hire someone to edit her English translation of a novella by Aigul Kemelbayeva. We eventually submitted the final version to Words Without Borders, whose editor, Susan Harris, was looking for “post-Soviet” literature from different places. Excerpts from the Kemelbayeva novella and two other pieces appeared in a WWB feature in January 2018. By that time, Zaure and I were thinking seriously about collecting writing by more authors and publishing an anthology. Ever since, she and I have been trading stories, checking each other’s translations (she translated the Kazakh-language stories, and I translated the Russian-language pieces), and querying publishers. We won some much-needed funding and publicity from the generous RusTrans program, and our collection is now nearly complete.

“Amanat” means legacy, or sacred trust. The title of our anthology is also the title of one of the shorter stories in it, by the wonderful poet, translator, and prose writer Oral Arukenova, in which a dying woman’s grown children struggle to decide what to do about her last request of them. The cultural clashes and generational conflicts in the title story are evident in other pieces in our collection, as well. But those sorts of conflicts are surprisingly rare in the “official,” state-approved literature in Kazakhstan today, which prizes tradition, patriotism, and stability above all (as does the bureaucracy that supports it). Yet there are many other types of stories to tell in a country that has undergone such profound political, social, and economic upheaval through Russian colonialism, Soviet cataclysms, and sudden independence in the space of just a few generations.

This story, “The Lighter,” is by Olga Mark (1963-2008), who was one of the most influential figures in independent (non-state-sponsored) Kazakhstani literature of the 21st century. It addresses child prostitution and poverty in an unnamed modern city, though with a dash of pure optimism, and it’s one of my personal favorites from this future anthology.

Zaure Batayeva on Author Olga Mark

Olga Borisovna Markova (Olga Mark) should be remembered both for her writings, which explored issues none of her Kazakhstani peers would dare to mention, and for her role as literary mentor and organizer, her ability to galvanize so many young people in the chaos of post-Soviet Kazakhstan, while being bound to a wheelchair at home.

In 1993, Olga founded the first independent arts and literary journal in Kazakhstan: Appolinarii. She ran the journal, and the many events organized under its umbrella, with a group of volunteers from her 3-room apartment in Almaty. A few years later, she managed to obtain funding for the journal and its many related activities, not from the state but from private donors, including the Dutch humanitarian HIVOS organization.

Moreover, in the early 2000s she founded a writers’ workshop, which nurtured a new wave of independent Kazakhstani writers: poets such as Marat Issenov, Aigerim Tazhi, and Erbol Zhumagul and fiction writers such as Lilya Kalaus and Ilya Odegov. As Maks Velichko, another writer who benefitted from this workshop, put it: “Olga Borisovna created something that was beyond the power of the powerful Ministry of Culture of Kazakhstan—a new literary wave.”

What Olga was able to do as a mentor and organizer was to provide conditions in which independent artists could learn, work, and create, despite being deliberately and systematically ignored by the state—a Soviet method that has prevailed until today. Olga’s achievements in this regard thus stand as a rare feat in the history of Kazakhstani literature.

Olga Mark with her students (2002) and colleagues at a book exhibit (2003). Photo credits: Aigerim Tazhi and Alexei Shvabauer.

P.S. 1
Here is one of Olga’s last interviews in which she spoke about the difference between independent writers and state-promoted writers (in other words, Soviet writers). The situation has not changed since Olga gave the interview: https://time.kz/news/archive/2008/06/25/5381

P.S. 2
I knew Olga personally because she was my teacher at Almaty State University. As a graduate student, I was honored to publish some of my badly written essays in Appolinarii and to attend various literary events that she and other teachers organized in her 3-room apartment.

The Lighter

A Story by Olga Mark, translated by Shelley Fairweather-Vega

“Kind people, have compassion for a poor orphan!” The girlish voice rang out through the bus and beat against the windows, as if to flee the stuffy air and escape outside.

When this voice suddenly intruded into their pre-holiday routine, demanding enough as it was, the passengers gave a start. Some glared at her with annoyance, this petite figure wrapped in a warm coat that wasn’t terrible looking, but most had a favorable enough reaction to both the voice and its owner, and wrinkled bills dropped generously into the thin palm of her hand.

Verka was happy. She smiled at everyone who gave her money, knowing her pretty little face would move people to kindness, and increase the size of their donations.

“Where are your parents?” asked a middle-aged woman, concerned.

“We’re refugees,” Verka answered cheerfully. “From Chechnya.” Then she added, just in case, “There’s a war there.”

The woman shook her head regretfully while Verka headed for the exit. The tribute had been collected and it was time to move on.

Humming something and skipping as she went, filled with joy, Verka walked between the new, tall apartment buildings in the fanciest part of the city. It was dangerous to work for a living here, too many cops and alert citizens, but Verka liked to take risks. She stopped near one doorway, examined it closely, rejected it and moved to the next. She walked inside that door and waited. To make things more fun, Verka took a half-eaten hot dog from her pocket. She chewed off tiny bites, not in a hurry—her belly was full—and like an actress before her entrance, she went over her lines. After about ten minutes a man walked through the door. Clutching the rest of the hot dog in one hand, Verka hurried over to meet him.

“Want a Lolita, a nymphette, a juvenilette?” Verka sang the words, opened her coat, and quick as a bat blocked the way to the stairs. She wore nothing other than that coat. Her pointed little breasts poked out threateningly, the dark nipples contracted maybe with cold, maybe with arousal. A flat stomach and blond puffy triangle below, the strong thighs and angular knees of a creature half girl, half woman… Frightened, the man took a step back, away from the glow of the bare young body. Verka advanced. Her whisper rang out loud, now beseeching, now commanding, fast, rapid-fire, over and over.

“Have compassion for a poor orphan, uncle! I’m a pretty girl, a good girl, you’ve never seen anyone like me, you’ve never had anyone like me…”

The man was retreating to the exit, but then he stepped forward abruptly, grabbed Verka by the shoulder, and shoved her out the door.

“Little wretch!”

Verka flew outside and fell, almost knocking a woman who was walking in off her feet. The woman stopped, distraught, staring at the naked Verka spread-eagle on her coat.

“He raped me!” Verka said, speaking very clearly and staring right at the woman. “He took my clothes! Me, an orphan!” The picture of despair, she covered her face in her hands.

The man ran outside and Verka, catching a glimpse of the look on the distraught woman’s face, shouted “Help!” Then she jumped up and dashed off between the buildings.

She stopped to catch her breath a couple blocks away. Shaking with laughter, she spent a long time resting near one of the young trees they had planted two years ago. Verka took the souvenir bottle of vodka from her pocket, the one she had fallen in love with for its beauty and miniature size and bought that morning at the bus stop kiosk. She opened it and took a gulp. Then she walked off to another building, dancing along the way, in no hurry at all, pretending to be Laime Vaikule on the TV. The doors here had locks controlled by keypads. She waited until a kid was going inside, hopped in after him, and stood there waiting again.

A man appeared almost at once. Opening her coat, Verka went to meet him.

“Want a Lolita, a nymphette, a juvenilette?” The man stopped, and looked her slowly up and down.

“How old are you?”

“Eleven!” Verka said cheerfully.

“You’re lying,” the man said.

“Fourteen,” Verka corrected herself. “I don’t remember, Uncle. We’re refugees from Tajikistan. There’s a war there.”

“Where’d you learn to talk like that then, Lolita from Tajikistan?”

“I’m really smart,” said Verka, coming closer to the man. “I read books, watch movies, play the guitar. You’ve never even dreamed of someone like me.”

The man examined her closely again, reminding her of a doctor at a checkup.

“All right, let’s go to my place,” said the man.

“No, Uncle, I’m not stupid. Here, please. I won’t go to your place.”

The man hesitated for a second, then grabbed Verka and dragged her up the stairs to the first landing, where there was a small niche in the wall.

“Uncle!” Verka whimpered, “I’m just an orphan. What about a little money?”

“How much do you need?” asked the man. “Enough for ice cream?”

“A thousand.”

The man pulled out some money—Verka got a glimpse of the contents of his wallet—and thrust it at her. He fumbled around in his winter clothing and spent five minutes trying to find a comfortable position.

Verka waited patiently, and she earned the money she had gotten just as patiently and dispassionately, staring, aloof, out the foggy stairwell window. She felt in her pockets for the rest of the hot dog and started chewing.

“You could at least not eat,” said the man.

“I don’t waste food,” Verka snapped back.

“Now where will you go?” the man asked, when Verka was fastening her coat, in no hurry. She took two steps down and stopped to fix her hair.

“I’m not going anywhere until you pay me, Uncle.”

“What do you mean, until I pay you?” The man was angry. “I gave you a thousand!”

“A thousand of our stuff,” Verka said. “I meant a thousand dollars.”

The man swore. Verka froze for a second, then rolled her eyes theatrically, threw up her arms, and shouted so the whole building could hear her.

“Help, help! I’m a child being raped!”

The man rushed at her, but Verka was ready for that and she dodged, then dashed upstairs, banging on every apartment door as she went.

“Stop! Quiet down!” the man shouted at her from behind.

Verka turned and hissed at him.

“You give me my pay, you child rapist, or I’m going to the cops and that’s it!”

Somewhere a door slammed and they could hear voices. The man, his face pale, pulled out his wallet, took three hundred dollars from it, and threw the cash at Verka. One keen glance at the wallet told her there was nothing left inside it, so Verka picked up the money, pulled her coat closed, and ran downstairs, past all the worried “What happened?” and “Who screamed?”

Once she was far enough away, in the empty lot near the place they were building another tall building, Verka leaped high in the air, doing the victory dance of some unknown tribe. She finished her vodka and headed to the Ramstore to turn the useless green paper into good things she needed.

The city was muffled up in the early winter evening. The afternoon smog had settled in a poisonous cloud to fill the streets. Bent under the weight of several stuffed shopping bags, a green alien beast printed on each, Verka slowly made her way past the long concrete barricade walling off a construction site abandoned ten years back. Once they were planning to build a new department store here, the biggest one in the city, and they had even managed to put in a good solid foundation and build the first four floors.

Then times changed, there wasn’t enough money, the lot got overgrown first with weeds, then little trees. By now there were supermarkets all over the city housed in imported prefab structures. They grew before your eyes like houses made of cards. Nobody cared about an old Soviet behemoth of a project anymore. Verka walked, and to distract herself from her aching arms, which could barely lug the heavy load, she repeated the new words she had read for the first time today in the store, in ads and on products, on book covers and cassette cases. I-beam. Consulting services. Mortgages. She loved the mysterious combinations of sounds, which you could repeat and savor until, pretty soon, what you had heard or seen or read suddenly became clear and made sense… People laughed at her weird fixations, and the almost forbidden pleasure grew even more acute.

When she reached a break in the concrete wall Verka slipped the bags through first, then crawled through herself. She followed the well-beaten path to the unfinished building and knocked at the basement window. None of the upper stories had walls, just framework and barely a roof, but the basement and the storage cellars underground were finished. All they needed was to put some plywood in the holes for the windows and vents and the place was ready.

A cardboard shutter slid down fast and the shaggy head of a fifteen-year-old boy appeared in the window.

“Verka! Come on in. You cold?”

“Here!” Verka, proud, handed him the shopping bags one at a time. The guy oohed and aahed happily as he took each bag, trying to figure out what was inside, and Verka laughed.

When she had passed them all in Verka slipped through the window herself. The guy caught her and helped her down, then hurried to cover the window. They brought the bags into the next room, where it was hot from a burning cast-iron stove, and noisy. Five young teenagers had evidently been living there for a while. Blankets were spread in the corners, dishes sat on homemade tables cobbled together from boxes, and a dark boarded-up window was decorated with a curtain.

Verka was met with joyful shouts, and when she started laying out triumphantly the things she had bought, the joy turned to jubilation. They applauded the slightly bent sticks of sausage, rounds of Dutch cheese and pinwheels of smoked cheese, baklava and pastries, food in cans, bottles of vodka and Pepsi, candy, chocolate, mints and other treasures.

“How did you carry all that?” asked the strong, bony girl who was always sniffling. But Verka had caught her breath by then and waved her off. “No big deal.”

When everyone had eaten their fill and had plenty to drink, when they were waiting out the brief stupor of satiety, smoking with relish, and everyone was having a good time, Verka spun in circles in the middle of the room and told them about the events of her day. She acted out all the roles, mimicked the men’s voices and the women’s frightened faces, and told them how skillfully and smoothly she, Verka, had done it all.

Everyone was laughing, copying her words and gestures, and as she basked in their love and admiration, Verka felt happy.

“It was getting cold this afternoon,” the strong girl said suddenly. “Should we go spend the night at the orphanage?”

“Nah,” said the shaggy-haired boy, looking over the meager remains of their feast. “Let’s go tomorrow.”

“Tomorrow, tomorrow!” Verka cheered. They only showed up at the orphanage when things got really bad on the streets, or they needed to hide out and wait for some kind of trouble to pass. And the caretakers had long ago stopped paying attention to the older kids’ frequent disappearances. They were often gone for days on end in the summer, and sometimes in the winter too.

“I bought this, too,” said Verka, and she took a lighter from her pocket.

“So?” somebody asked her, giving her purchase an uninterested look. “It’s just a lighter.”

“It’s everlasting. It lasts forever.” Verka held the little red rectangle with rounded corners proudly above her head.

“Nothing lasts forever,” laughed the dark-skinned boy who looked like a Gypsy.

“This one does, this one does!” Verka chanted, and traced a finger lovingly over its smooth surface. “They told me it does!”

“You’re so lucky,” whispered the girl who always sat quietly in the corner, the youngest of them all. “You always have money and you know so many big fancy words.”

“That’s the way I am!” Verka crowed.

She spun across the room, one hand flicking the lighter, the other holding an open vodka bottle, and she was happy, the warm room felt good, the little flame flickered and went out, the kids around her were getting ready for bed but she wanted to go somewhere, do something, it didn’t matter where or what, as long as this drunken happiness could go on.

“Let’s go upstairs!” she called to them. “Let’s look at the city! It’s night, it’ll be great!”

“You’re wasted!” the shaggy-haired guy told her, getting under a blanket with one of the girls. “It’s cold out there. We’ll freeze.”

But Verka was already going up the rickety flight of stairs. She opened the door at the top and then up, up, up, to the last finished floor. The sharp, cold air seized her, she gasped in delight, and she pulled her coat closer around her.

Verka walked to the very edge. The city winked at her with dozens of bright windows, the holiday lights in the streets, the colored flashes of the ads. It was cold. At night nature forgot that this was a southern city. Verka took a hurried gulp of vodka. She flicked her lighter mechanically, as if adding one more small flame to the sparkling night, and she looked off into the distance. For her, the view from up above was always spellbinding. She looked for a long time over the city, sprawling in all directions, and then, frozen, she started to dance. Soon, laughing and yelping, spinning in circles, she had her head tossed back and her arms thrown out wide. When she stopped and went back to looking at the city, it seemed to her that the lights in the windows were being carried away, whirling unrestrained, into the measureless blackness of space. Everything was swimming, the headlights, the houses, the streets… The wayward planet was flying into the unknown, drawing after it the slim lobe of the moon, and the sun wherever it was hiding, and the fragile winter stars. Barely holding back, full speed ahead, Verka shouted at the lights smeared into thin, bright streaks.

“Kind people, have compassion for a poor orphan!”

Olga Mark (1963-2008) was a teacher, critic, and fiction writer. She published three works of fiction and a monograph on poetry. Olga wrote in Russian.

Shelley Fairweather-Vega is a professional translator from Russian and Uzbek and has translated fiction from all over the former Soviet Union. She holds degrees in international relations from Johns Hopkins University and in Russian, East European, and Central Asian Studies from the University of Washington. She is currently the president of the Northwest Translators and Interpreters Society and runs FairVega Russian Library Services. Co-editor, with Zaure Batayeva, of the work-in-progress Amanat: Recent Women’s Writing from Kazakhstan.

Zaure Batayeva is a journalist, translator, and fiction writer. Her articles and stories have been published in print and online. Zaure writes in Kazakh and Russian. Co-editor, with Shelley Fairweather-Vega, of the work-in-progress Amanat: Recent Women’s Writing from Kazakhstan.

Readings on Blackness, Racism, and Russian and Eurasian Studies

This post reproduces and documents a Twitter thread that began on June 3, 2020, with articles by Aisha Powell, Sarah Valentine, B. Amarilis Lugo de Fabritz, and Jennifer Wilson. Various members of the Eurasian Studies community gradually added to the thread, creating an informal list of resources that, while useful, would also be ephemeral and difficult to find if left on social media. Here, in Punctured Lines’s more easily searchable archive, these resources are available for you to use and remix through a Creative Commons Attribution 4.0 International License. This license applies only to the tweets by Hilah Kohen below and not to any of the content linked to them. You can use the license to create your own version of this resource list for a specific community or publication.

Both the Jordan Center for the Advanced Study of Russia at NYU and the American Association of Teachers of Slavic and East European Languages (AATSEEL) have also published organized lists of texts, lectures, and podcasts relating to race and racism. While these databases intersect with the Twitter thread reproduced here, they focus on offering additional materials that are relevant to scholars and teachers of Eurasian languages and cultures.

To keep things maximally readable, we chose to preserve Twitter’s format for some posts and to transpose others to a text-based layout. We welcome all feedback and links to additional resources. To access the thread below directly on Twitter, click here.

Especially for fellow Eurasianists just starting out, tho, this is work to read as we wade into the bs going forward. Not comprehensive– just what comes to mind re: student experiences, teaching, and what our field does on a systemic level. Less material here on research. /2

Black Bread: A look inside the world of black Slavic studies scholars” by @AishaPowell_ for @trumplandiamag /3

Russian Studies’ Alt-Right Problem” by Sarah Valentine for the Chronicle (paywalled but important– if anyone has a non-paywalled link or is willing to share access, please say so) /4

“Race, Diversity, and Our Students in Russia” by @boricuaslavist for @NYUJordanCenter /5

.@JenLouiseWilson‘s 2014-2015 series “Teaching Race in Russia” plus “Is Slavic ready for Minorities?” for @NYUJordanCenter (more links below) /6

“Teaching Race in Russia: Dispatches from ‘The Harlem Renaissance: From New York to Tashkent'” by @JenLouiseWilson /7

“Teaching Race in Russia Part II: From Harlem to the ‘Soviet South'” by Jennifer Wilson /8

“Teaching Race in Russia Part III: Sartre, Jazz, and the Cossack Dance” by Jennifer Wilson /9

“Teaching Race in Russia: Some Conclusions” by Jennifer Wilson /10

Material for listening & then further research: “The Global Alt-Right: Race and U.S.-Russia Relations” @NYUJordanCenter: http://youtube.com/watch?v=4DeKIKG-HX0… /11

Loads of posts and articles on @raceineurasia /12

Please add more if you have time/energy somehow (I’ve only read narrowly & also haven’t included any books here) and add your essential readings related to research on race in Eurasian and Russian studies /13

One last “goes without saying” is that this thread is an addendum to concrete monetary/physical/logistical action right now and in the coming weeks. Thanks for reading /15

Adding “#BlackOctober Reading List: The Russian Revolution and the African Diaspora” by @JenLouiseWilson and @mightykale. Super thorough starting point for reading on the Black diaspora and the USSR plus some temporally broader pieces

Am learning that I don’t know how to keep up with Twitter replies very well, so I’m sorry if I miss something! I really appreciate the words of thanks, but they should be directed elsewhere. I respect all of you beyond words, but there’s a misunderstanding of scale here.

For white scholars who want the field to change, these conversations about race in the field have so far meant working on ourselves, supporting students, and responding to individual incidents. Necessary steps. This category of responses to the thread is passing by another:

Black scholars and scholars of color have worked constantly for years against the racism of a thousands-strong field and gotten crap in return. Our field’s record is one of forcing all Black scholars out. That there are still meaningful experiences to be had doesn’t change this.

That’s the scale we’ve got to be on. I don’t know how to frame this rhetorically– I fit into the first tweet above, not the second. This is just a total split in the responses to this thread, and it’s also (quite sickeningly) evident in the thread itself.

Our colleagues have pushed the field’s leadership & their mentors out of personal necessity and at daily personal cost; built successful, growing programs at their institutions from precarious positions; written numerous papers about the concept of them having room in the field.

Sometimes, we don’t know we even can do things on that scale because we don’t have to be on that scale to stay in the field, plus the field doesn’t ask it of us. Meanwhile, there’s prolific work being done under extreme pressure. We have to be on that scale.

I feel ill writing these things in this bizarre tone and as if from outside. Obviously, nobody has denied all this; you know this; everybody here is being so supportive. The question is what’s next & can it possibly be enough.

I should add– useful assuming a considerate and broadly informed approach.

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A Forum of Reflections on Audre Lorde’s Notes from a Trip to Russia

Audre Lorde’s name and work is familiar to many of us who have studied feminist movements in high school and college. Some of her seminal essays, including “Poetry Is Not a Luxury” and “Uses of the Erotic: The Erotic as Power” are commonly included in syllabuses of literature classes and used as entry points into the conversation about the politics of literature and how combinations of race, gender, and sexuality affect one’s construction of self and point of view on the world.

Less well known is Lorde’s essay “Notes from a Trip to Russia” that opens her book Sister Outsider. A footnote to this essay explains that Lorde spent two weeks in the Soviet Union in 1976 as an American observer to the African-Asian Writers Conference sponsored by the Union of Soviet Writers. Having returned from that trip, she finds herself haunted by it in her dreams, including a particular image of “making love to a woman behind a stack of clothing in Gumm’s Department Store in Moscow.” In Lorde’s dream, the woman falls ill and Lorde needs to seek medical help for her, and is floored by the realization that in Soviet Russia, medical treatment is free and available to all.

I read this essay just a few years ago and at first struggled with how to react to it. To me, everything starting from that opening image seemed both familiar and bizarre. It took me a moment, for instance, to recognize that Lorde is talking about GUM–an acronym for Gosudarstvennuiy Universalniy Magazin, a State Department Store–which in her version acquires an almost poetic personal quality, related to somebody named Gumm. I was born in 1979, three years after Lorde took this trip, and I had a personal mythology of GUM. As a child growing up in Leningrad, I had read about it in books and newspapers–as far as State Department Stores went, this one was well written about. I imagined it as a toy palace–I had an idea that that’s where most of the world’s toys were hidden from us kids. The keepers of the toys were, in my mind, not unlike the angry guards at the museums of the world or the tired, worn-out women working behind the counters of Leningrad’s stores: their job was to keep desirable items away from unworthy hands. To imagine a Soviet prodavshchitsa take part in a sex dream seemed unthinkable.

But then, I thought, why not? This is what it’s like to see the world I grew up in from a stranger’s eyes–it’s an opportunity to examine my premises. There must’ve been lesbians in the Soviet Union, even if I didn’t know anything about that until I was seventeen and living in the United States. So, my first approach to Lorde’s book took me into a completely unexpected direction: it sent me rethinking my relationships to all the women I had known growing up, imagining them as heroines of sexually charged international lesbian love stories. (I even started plotting a novel along these lines, thank you very much, Audre.)

During her trip to the Soviet Union, Lorde visited Moscow and from there traveled to Uzbekistan, the location of the Conference–she went to two towns there, Tashkent and Samarkand. The essay is very much a travelogue, the best of the genre, in which the writer is keenly aware of being a stranger to the places she’s moving through and as she’s documenting her experiences, she’s writing about her own thoughts and feelings and provides a window into her assumptions and biases. Reading the piece all of these years later, it feels like a gift of a guide into the study of Russian and Soviet literature and the field’s lingering struggle to include people of color and women into the conversation.

This essay champions the kind of work that we hope to do with Punctured Lines: bringing together unexpected voices and stories from and about the (post) Soviet space. Unfortunately, for rights reasons, we are unable to reprint the essay online, so to encourage a cross-cultural dialogue, we asked our Twitter followers to submit personal responses to this essay. We also reached out to a few scholars and writers who we expected might have unique insights into the issues that Lorde addresses. Below are responses we received from Emily Couch, Shelley Fairweather-Vega, Elena Gapova, and Maggie Levantovskaya. If you want to join this conversation, please comment below or reach out to puncturedlines [at] gmail.com.

We have been planning this post for several months, and are finishing it under conditions of quarantine. As I’m writing this, the world is struggling with the mounting numbers of COVID-19 cases and many of us have had to severely curb our activities–so the very nature of a travelogue feels radical at the moment. Universal medical care that, in Lorde’s notes of her trip to the Soviet Union, appeared too good to be true, today remains our most urgent need. Yet, as Levantovskaya mentions in her piece, the Soviet Union is a poor guide for a functional medical system–the conditions of care there were often inhumane and bribes were exchanged as a matter of course. We also want to acknowledge and honor the invisible, unpaid and low-paid women’s labor that goes into allowing each family and each hospital and each business and each state to keep going. We urgently need to change this situation so that the burden of this invisible labor does not disproportionately fall to women.

(Continued)

Inheritance, an essay by Mariya Deykute from The Seventh Wave

The Great Patriotic War is now nearly eighty years old, and yet it still resonates in the lives of the grandchildren of the surviving generation. This essay by Mariya Deykute attests to its power over our imaginations. Some of us continue to make decisions with that war in mind. I particularly admire how Deykute both personalizes the war and portrays her family’s lived experience of the war, touching on her grandmother’s and her mother’s stories. This war is both the environment in which people have lived and a character of our nightmares.

With gratitude to Olga Livshin for sharing this piece. Please click through to read the essay in full.

The Great Patriotic War came to visit me again today. I was throwing out wild raspberries. A week ago I had scrambled up the treacherous rocks of Narbona Pass to fetch a cupful. “Eat them,” my husband said. “Later,” I replied. The cup sat in the car on the trip back, full of small red not-spheres. They sat in the fridge for a week. “Should I toss them?” my husband asked. “No, I’ll make something with them,” I said. But today I found that white mold had claimed them, fuzzy rotting snowflakes…..

http://theseventhwave.co/inheritance-mariya-deykute/

Central Asian feminists are carving out their space in gender studies, by Aizada Arystanbek

Part of Open Democracy’s “new series on activism, academia and equality in Central Asia,” this piece is by Aizada Arystanbek, “a Central Asian graduate student of gender studies in Europe” (links to the other pieces in the series are included). As she writes, “along with the thrill of being able to study what I am passionate about comes a certain violence of erasure, as I am left constantly searching for my identity in feminist academia.

As I think about Russia’s colonisation of Central Asia and the process of Russification my mother had to undergo in her school in Tselinograd (the former name of the current capital of Kazakhstan), I feel deeply for Latina, black and indigenous women who write about their ancestors being colonised, their land being stolen, and them being perceived as backward simply because they lacked culture in the western conception of the word.

But I am always caught in between these various identities and almost never am I seen for my own very distinguishable one, a Central Asian woman. I have to stitch together my identity in academia by myself, learning little-by-little from other feminist scholars of colour, hoping that I understand their experiences correctly and that their words will represent my struggle accurately when I use them in my essays.”

Central Asia, once part of the Soviet Union and now comprising independent nations, is not particularly well known in the West. In the U.S., academic study of the region has traditionally come out of Slavic departments, where it has only recently begun to garner more attention, although not necessarily about issues of gender and feminism. This series looks to be an important and much-needed step in this direction.

https://www.opendemocracy.net/en/odr/central-asian-feminists-are-carving-out-their-space-gender-studies/

Emily Couch on The Ethnic Avant-Garde and Diversity in Russia Studies

By Emily Couch

In 2015, Steven S. Lee published the monograph The Ethnic Avant-Garde: Minority Cultures & World Revolution. It may seem strange to write about a book four years after its publication, but the continued lack of racial and ethnic diversity in Russia studies makes Lee’s work more relevant than ever. Today we should consider The Ethnic Avant-Garde as not only a valuable source of information and analysis on a much neglected topic, but also as a springboard for reconsidering the field’s methodologies, as well as dominant political discourses on the region and its Soviet past. 

WHAT IS THE BOOK ABOUT?

Lee defines the “Ethnic Avant-Garde” as referring to the diverse artists and writers who engaged with the Soviet Union from beyond its borders, but his central contention is that the phrase defines a  “largely unrealized utopian aspiration […] the dream of advancing simultaneously ethnic particularism, political radicalism, and artistic experimentation, debunking the notion that particularism yields provincialism.”  The Ethnic Avant-Garde, he adds, “foregrounds a distinct way of seeing – a ‘transnational optic’ that, for the contemporary reader, makes it possible to discern unexpected connections among radical artists and writers from many different countries.” The book does not idealize the Soviet system or its minority policy, but rather argues that foregrounding the Ethnic Avant-Garde facilitates a “minority and Soviet-centered remapping of global modernism” and “provides for new scholarly and creative communities in the present day.”

Chapter 1 analyzes the cultural exchange between Vladimir Mayakovsky and Langston Hughes by looking at the way in which the latter translated and adapted the poetry of the former. Chapter 2 considers Sergei Tretyakov’s play Roar, China and its reception in the United States. Chapter 3 looks at Hughes’ famous dismissal of the planned Soviet movie about African American struggles, and Chapter 4 addresses the complex attitude of American Jews towards socialist internationalism.  Overall, the book covers the inter-war period from 1918 to 1939.

REVIEW OF THE BOOK 

The strongest suit of The Ethnic Avant-Garde is the multitude of significant, but little known, examples of cultural interaction between Western ethnic minorities and the Soviet Union. Perhaps the most emblematic of these is Lee’s analysis of Vladimir Mayakovsky’s “Black & White” (1925) – a poem in which Willie, a black sweeper at an American cigar company in Havana, slowly gains awareness of racial inequity – and its subsequent translation into English by Langston Hughes in the 1930s. Through analysis of word choice, form, and rhythm, Lee reveals the cultural collaboration that took place between these seemingly disparate authors (even though Mayakovsky was no longer alive by the time of Hughes’ translation), and highlights the way in which Hughes not only translated Russian into English, but also represented Afro-Cuban culture in a way that was comprehensible to an American audience.  Another strength of The Ethnic Avant-Garde is that its content – the book covers multiple ethnicities, including African American, Asian, Afro-Cuban, and Jewish – reflects Lee’s mission to “delineate an avant-garde grouping that cuts across racial, ethnic, and national boundaries.”

This ambitious motivation is, in part, responsible for the book’s shortcomings.  The concept of the Avant-Garde is inherently abstract (think of Kazimir Malevich’s paintings), so it is not surprising that Lee’s writing style is heavily theoretical – his use of Vladimir Tatlin’s Monument to the Third International (1919 – 1920) as a visual metaphor for the Ethnic Avant-Garde is a prime example of this tendency.  The plethora of abstract concepts with which Lee grapples frequently leads to dense and obtuse paragraphs that would make little sense to a reader who was not well-versed in the theoretical underpinnings of modernism. Terms such as “Freudian melancholia” and “Now-Time,” for example, receive little explanation. This trend carries through to the final chapter which, instead of bringing the book’s narrative to a close, offers yet more theorization – this time, focusing on how Karen Tei Yamashita’s I Hotel (2010) negotiates the “eternal idea” of Mao’s Cultural Revolution and its reality.  While the discussion of Yamashita’s work is rigorous, it does feel like something of a non sequitur in a book that primarily discusses the Soviet Union.

WHY IS IT SIGNIFICANT?

Let’s turn to methodologies. Russia studies, like every field of area studies, is an umbrella term that houses multiple disciplines – namely, international relations, political and social science, history, literature, art, and language.  Yet, while Russia studies is a broad church, there is a strange lack of interdisciplinary dialogue, particularly when it comes to the international relations and political science strands.  For scholars of literature and art, it is natural to draw on the research in these fields in order to understand the backdrop of, and worldview encoded in, the work. However, there is little in the way of reciprocal influence due to the unfortunate tendency among IR and political science scholars to see their disciplines as detached from the “softer” realm of cultural studies. The Ethnic Avant-Garde embodies the fruitful results of this kind of interdisciplinarity work.  Lee himself is an Associate Professor of English Literature at Berkeley, but he uses the techniques of literary analysis in order to draw wider conclusions about the social and political nature of the relationship between the Soviet Union and ethnic minorities abroad.  

Interdisciplinary methodologies, in turn, prompt a rethinking of Western political discourse on the Soviet Union. Understanding the cultural ties and, indeed, the cultural attraction that it exerted for Western ethnic minorities invites a critical reassessment of the traditionally antagonistic Cold War rhetoric. The dominant U.S. rhetoric of the Cold War period posited the Soviet Union as the antithesis to American ideals of democracy and capitalism.  Encoded in this rhetoric, however, was the pervasive inequity in racial relations, especially regarding the African American community. Thus, anti-Soviet discourses erased the experiences of those ethnic/racial groups who were not included within these “patriotic” ideals. Granted, The Ethnic Avant-Garde does not technically cover the Cold War (i.e. post-World War II) period.  However, its final chapter does suggest that the People’s Republic of China – founded in 1949 – offered a beacon of hope for Western ethnic minorities. The nuancing called for by Lee’s work, in turn, spotlights the ever growing need for greater diversity among the practitioners and scholars who study the region.

THE PERSONAL IS POLITICAL 

The iconic slogan of the 1960s and 70s women’s movement has been repeated to the point of banality over the last six decades, but this does not mean that it is any less relevant today. Academic book reviews rarely mention the author’s personal biography, but in this discussion of racial and ethnic diversity in Russia studies it is salient to point out that Lee himself – as he writes in the Acknowledgements – is the child of Korean immigrants to the United States.  He is among the few ethnically East Asian scholars in Russia studies (other examples being Notre Dame’s Emily Wang and UPenn’s Brian Kim). Lee’s personal background makes The Ethnic Avant-Garde political: beyond its specific content, the very fact that a seminal contribution to the field has been made by a person of color is, in itself, worthy of celebration. Most significantly, however, is that The Ethnic Avant-Garde points to the way diversity in the profession can facilitate a dramatic reinterpretation of the Soviet Union’s place in the global cultural space by foregrounding the inter-ethnic and inter-racial connections that the present Eurocentric scholarship has overlooked.

Emily Couch is a Staff Intern at the Kennan Institute.  She recently completed a double Master’s degree in Russian & East European Studies at University College London and the Higher School of Economics (Moscow). She has just returned from a year living in Russia where, in addition to her degree, she interned with the independent Russian pollster, The Levada Center.  Earlier this year, she defended her thesis entitled The Inter-regional Diffusion of Russian Protest Repertoires in a Trans-National Context, 2008 – Present.  Her articles have been published by news outlets including The Moscow Times and The Calvert Journal.
Twitter: @EmilyCouchUK

Looking Back on Our First Event: Participatory Reading in Post-Soviet Literatures, in Pictures

On November 25th, Punctured Lines hosted our first literary event in San Francisco. Thanks to a conference that brought to San Francisco scholars, translators, and writers in Slavic, East European, and Eurasian Studies, we were able to gather a star list of participants. A few of the readers have appeared in Punctured Lines, and we certainly hope to feature more of their work. Following the scheduled portion of the event, we hosted an open mic that turned out to be a great crowd-pleaser. Below are the pictures we captured that night and brief descriptions of everyone’s contributions.

Shelley Fairthweather-Vega opened with an excerpt from her recently published translation of Talasbek Asemkulov’s novel A Life at Noonavailable for purchase here. A story about a musician growing up in Soviet Kazakhastan and learning his art form from his father.

Yelena Furman read the opening from her short story “Naming,” recently published in Narrative Magazine, and available in full online (free, with free registration required).

Wayne Goodman read a few brief excerpts from his historical novel Borimir: Serving the Tsars that re-imagines gay romance in Imperial Russia. There’s lots of awkward flirting! This book is available for purchase on Amazon.

Maggie Levantovskaya read from her essay about a trip to Auschwitz concentration camp “To Conjure Up the Dead,” published in Michigan Quarterly Review. The bizarreness of Holocaust tourism with the post-Soviet twist. An excerpt from this essay appears online.

Dmitri Manin wore the T-shirt with Genrikh Sapgir’s poem on the back, and read to us his translations from Sapgir’s “Poems on Shirts” book. We have published three of these translations in an earlier post.

Masha Rumer shared an essay about exposing an unsuspecting date to the delights of pickled herring-and-boiled beet salad, aka “Seledka pod shuboj.” He lived long enough to propose. We’re hoping to read the follow up on this story in her upcoming book, Parenting with an Accent: An Immigrant’s Guide to Multicultural Parenting. More about Masha and her book in the Q&A she gave Punctured Lines.

Sasha Vasilyuk followed with an excerpt from her novel-in-progress about a Soviet prisoner of war. We will be following the development of this project closely.

Mary Jane White delighted us with her translations from Marina Tsvetaeva — her delivery of the “Ode to the Rich” landed particularly well with our audience. Mary Jane’s book of her own poetry and translations from Tsvetaeva Starry Sky to Starry Sky is available online. We will be following up with news of her upcoming book of translations from Tsvetaeva’s Berlin and Prague years, Poems of an Emigrant: After Russia, Poem of the Hill, Poem of the End, and New Year’s.

I read the opening of “Rubicon,” a short story from my collection Like Water and Other Stories.

Josie von Zitzewitz followed up on the thread of discussion about the lack of visibility of contemporary Russian literature in the United States, and introduced a project that she’s developing with Marian Schwartz and Hilah Cohen, soliciting work from young Russophone writers to create a feature publication in an American magazine (possibly more than one).

Joining us for the open mic portion of the show, we had Maxim Matusevich, a writer and a historian of USSR intersections with African countries. He delivered an excerpt from his hilarious short story about cultural encounters between American students going to study abroad in St. Petersburg.

Christopher Fort closed the evening with a poem that he read in both Uzbek and English, bringing our attention to a particular rhyming pattern of Turkic languages. We have previously linked to Christopher’s interview about translating Abdulhamid Sulaymon o’g’li Cho’lpon novel Night and Day. This novel is now available for purchase online.



An encounter with Svetlana Alexievich through the eyes of her Spanish translator: an essay in World Literature Today

Jorge Ferrer and his English translator Jacqueline Loss, writing for World Literature Today, offer us an interesting glimpse of Svetlana Alexievich’s reception in Spain. Ferrer was born in Havana and now lives in Barcelona and translates Russian-language writers, including Svetlana Alexievich, into Spanish. I love knowing that a character from Secondhand Time has a life of her own on the stage of a Barcelona theatre.

I’m just going to simplify the problem for us to understand: (1) A Belarusian writer who operates by means of a method usually called “novel of voices” includes in a book a woman’s testimony; (2) An actress reads that testimony in Spanish translation, falls in love with the witness, takes that text to the theater, and constructs, in a parallel manner, a life in the real and digital worlds; (3) The actress asks the translator of the original text into the language in which she represents the character to write a new monologue for the witness, that is, to take her out of the realm of reality and transport her into fiction—from being a person, to turn her into a character and, instead of translating the life transcribed for her, write a future life for her.

https://www.worldliteraturetoday.org/2019/autumn/date-svetlana-alexievich-berlin-or-smuggling-bugs-soviet-moscow-jorge-ferrer

Beyond the encounter with Alexievich herself, Ferrer takes us on several delightful tangents in this essay. This piece feels particularly appropriate this week, when we’re celebrating the 30th anniversary of the fall of the Berlin wall.