100 books like Red Square, Black Square

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.

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. 

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. 

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… show more.

To understand Imperial Russia, you have to understand its culture. From the early days of conversion to Christianity in 987, through to Diaghilev and the Ballets Russes, Suzanne Massie takes us on a wonderful journey through the customs and culture of this enigmatic land. We see the colourful markets and fairs, the carnival season and the traditions of Easter and Christmas, as well as the great artists, composers, writers, and dancers that Russia has produced. This is one of the most beautiful (and useful) books I have ever bought.

Fully abstract art was a Russian invention, but until this remarkable book by Aaron Cohen came out, there was no treatment of the subject that explained the historical context in which it emerged in the work of Kandinsky, Malevich, Tatlin, and others. Other art historians have traced the aesthetic process that led, seemingly ineluctably, toward abstraction, but Cohen shows us how closely linked it was to the despair felt during the First World War. In this short but accessible work that makes extensive use of previously untouched Russian sources, he brings to life the debates over the issue among Russian artists and critics and details the response of the art market to the turmoil of the period and the birth of avant-garde movements that revolutionized art worldwide.

Mansfield is another pioneering, modernist writer, whose psychologically driven characters have sudden epiphanies. Insights of this kind are extremely difficult to make credible in stories yet she invariably succeeds. Understanding how she pulls this off enriched my understanding of how plots work and how personalities are depicted. I might also add that I am married to a New Zealand and some time in that country, so nice to have a local, so to speak, author.

Fun Home is Alison Bechdel’s most famous work (and it is phenomenal), but this one captured my heart. While the former focuses on her father, here Bechdel turns her focus on her relationship with her mother, weaving in a lot of psychoanalysis and modernist literature.

Bechdel’s characteristic intricacy and attention to detail are on full display, and the frequent inclusion of dreams and their interpretation (a particular interest of mine) make the whole book feel almost surreal yet completely grounded.

Cane is an experimental, modernist work combining poetry, fictional vignettes, and dramatic dialogue as it portrays Black life in the sugar cane fields of the South and in the urban neighborhoods of recent migrants. I first read Cane while I was living in an apartment on the south side of Chicago, a destination for hundreds of thousands of Black migrants in the mid-twentieth century; the tracks of the Illinois Central railroad, their main transit route from the South, were just steps away from my home. The book drew my attention to the forces shaping my neighborhood, while it also led me to begin thinking about the connections between art and migration. It is a very lyrical and powerful book—and the subject of the second chapter of my book.

This was one of the first books that got me interested in the history of nineteenth-century Kyiv. Freshly published when I began my graduate studies, Faith Hillis’s book is detailed micro-history of local politics in the Ukrainian capital from the early nineteenth century to the revolution of 1905.

In particular, Hillis recounts the rise of a local Russian nationalist movement and does a great job at explaining why the city – and all of Ukraine – came to occupy such a central place in the political imagination of Russian imperialists and nationalists. And several members of the Shul’gin family – the protagonists of my own book – also make an appearance!