I have chosen the five books below as the most original and thought-provoking ones on Russian history and culture, books that I return to again and again when thinking about the questions they raise. They are not books that I always agree with, but to me that makes them all the more valuable!
This is, in my opinion, the best short history of Russia (only about 100 pages). It’s full of unexpected ideas, provocative and challenging.
It was published in 2003 and is written from the perspective of a Russia in decline (Russia of the 1990s, before Putin), but nevertheless offers a brilliant analysis of why the country has tended toward isolationism and xenophobia. It is thus almost predictive of Putin’s recent break with the West. I have assigned it to classes and recommend it to friends.
Is Russian history one big inevitable failure? The Soviet Union's demise and Russia's ensuing troubles have led many to wonder. But this is to look through a skewed prism indeed. In this provocative and elegantly written short history of Russia, Marshall Poe takes us well beyond the Soviet haze deep into the nation's fascinating--not at all inevitable, and in key respects remarkably successful--past. Tracing Russia's course from its beginnings to the present day, Poe shows that Russia was the only non-Western power to defend itself against Western imperialism for centuries. It did so by building a powerful state that molded…
Hidden in Plain View makes us see Tolstoy in a completely new light. I find Morson one of the most engaging critics of the Russian classics, and this is perhaps his best and most curmudgeonly argumentative book.
It offers a brilliant reading of War and Peace as an “anti-novel”—as an attack on the form and philosophical suppositions of the “novel” (the word in Russian can also refer to a literary or real-life “romance”).
It follows in the footsteps of the Russian critic-philosopher Mikhail Bakhtin, who viewed the novel as a dialogical, open-ended “anti-genre,” without a fixed form, that cannibalizes all other genres. In War and Peace, this also serves to explain Tolstoy’s attack on history-writing, which shares the false, “closed” narrative presumptions as novel romances.
For decades, the formal peculiarities of War and Peace disturbed Russian and Western critics, who attributed both the anomalous structure and the literary power of the book to Tolstoy's "primitive," unruly genius. Using that critical history as a starting point, this volume recaptures the overwhelming sense of strangeness felt by the work's first readers and thereby illuminates Tolstoy's theoretical and narratological concerns.
The author demonstrates that the formal peculiarities of War and Peace were deliberate, designed to elude what Tolstoy regarded as the falsifying constraints of all narratives, both novelistic and historical. Developing and challenging the ideas of Mikhail Bakhtin,…
Of the very many books I have read about Dostoevsky, this is one of the best, and I return to the author’s ideas again and again. Holquist argues that “Dostoevsky is the inheritor of a particular historical tradition—a tradition of radical doubt about history itself.”
His readings of Dostoevsky’s individual works show how Dostoevsky responded to this challenge, and are brilliant, theoretically sophisticated yet clear and convincingly argued.
What place do Dostoevsky's works occupy in the history of the novel? To answer this question, Michael Holquist focuses on the formal aspects of Dostoevskian narrative.
The author argues that the novel is a genre that constantly seeks its own identity: we still do not know what it is, since the uniqueness of its members defines the class to which it belongs. This anomaly explains the central role of the novel for Russians, perplexed as they were in the nineteenth century by idiosyncrasies that hindered development of a coherent national identity.
Michael Holquist shows that the generic impulse of the…
Red Square, Black Square is a unique, fragmented “postmodern” critique of Russian avant-garde and revolutionary ideas that bleeds into a deconstruction of Soviet ersatz culture that took its cue from them.
It combines horror and comedy, seriousness and self-satire, and itself partakes of the style and language (as well as the punning wit) of the avant-garde. I found it challenging and fun to read and full of surprises.
This book builds a new vision of the development of Russian revolutionary culture, bringing together fiction, criticism, utopian projects, manifestos, performance and film theory, religious philosophy, and the imaginary space of communism centered around the Mummy of Lenin.
Revolution and modernization are two main issues of the book. The author argues that in Modernism the work of art was conceived as a miniature of the world to come; thus, art was meant to make projects, not master-pieces. He analyzes the genre of the manifesto as a special rhetorical device of modernist discourse and shows how projects of biological and social…
Gogol is one of the weirdest and most fascinating of Russian writers, whose eccentric comic masterpieces continue to entertain and puzzle us. His identity as a Ukrainian who became a Russian classic and the way this is or isn’t reflected in his works has long been debated.
Nikolai Gogol: Performing Hybrid Identity makes sense of these two contending national components of Gogol’s writing and career. Ilchuk demonstrates the remarkable ways his “hybrid” national identity played out: in his often bizarre language, an uncanny Russian pervaded by Ukrainianisms (made more or less evident in successive, ideologically-motivated editings); in his works’ narrative structure, plot, and theme; and in the author’s odd behavior in society as a colonial “other.”
The book helped me understand the ins and outs of post-colonial theory, which the author presents in a clear and effective way. It also unexpectedly illuminated for me aspects of Russian imperial identity that have been so monstrously highlighted by the current war.
One of the great writers of the nineteenth century, Nikolai Gogol was born and raised in Ukraine before he was lionized and canonized in Russia. The ambiguities within his subversive, ironic works are matched by those that surround the debate over his national identity. This book presents a completely new assessment of the problem: rather than adopting the predominant "either/or" perspective - wherein Gogol is seen as either Ukrainian or Russian - it shows how his cultural identity was a product of negotiation with imperial and national cultural codes and values. By examining Gogol's ambivalent self-fashioning, language performance, and textual…
It argues that sight—“the noblest of the senses”—played a key role in Russia’s self-image during the period when Russia became a major player in European politics and culture. The new Russia put a premium on sight, with emphasis on the virtue of being seen. I argue that before one tries to describe what is seen—the epoch’s innumerable new manifestations of the visual in all spheres of life—it is necessary to define what it means to see for the given society.
The Visual Dominant thus attempts to view Russian culture “through its own eyes” by examining the dynamics of sight in a spectrum of leading literary genres, seeking the roots of Russia’s “ocularcentrism” in psychological, theological, and ethical terms.
I come by my interest in history and the years before, during, and after the Second World War honestly. For one thing, both my father and my father-in-law served as pilots in the war, my father a P-38 pilot in North Africa and my father-in-law a B-17 bomber pilot in England. Their histories connect me with a period I think we can still almost reach with our fingertips and one that has had a momentous impact on our lives today. I have taken that interest and passion to discover and write true life stories of the war—focusing on the untold and unheard stories often of the “Average Joe.”
October 24, 1944, is not a day of national remembrance. Yet, more Americans serving in World War II perished on that day than on any other single day of the war.
The narrative of No Average Day proceeds hour by hour and incident by incident while focusing its attention on ordinary individuals—clerks, radio operators, cooks, sailors, machinist mates, riflemen, and pilots and their air crews. All were men who chose to serve their country and soon found themselves in a terrifying and otherworldly place.
No Average Day reveals the vastness of the war as it reaches past the beaches in…
October 24, 1944, is not a day of national remembrance. Yet, more Americans serving in World War II perished on that day than on December 7, 1941, when the Japanese attacked Pearl Harbor, or on June 6, 1944, when the Allies stormed the beaches of Normandy, or on any other single day of the war. In its telling of the events of October 24, No Average Day proceeds hour by hour and incident by incident. The book begins with Army Private First-Class Paul Miller's pre-dawn demise in the Sendai #6B Japanese prisoner of war camp. It concludes with the death…
