Reanimating/Resisting Late Soviet Monstrosity: Generational Self-Reflection and Lessons of Responsibility in Alexei Ivanov’s Pischeblok [The Food Unit]

Ksenia Robbe
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Abstract

Remembering late socialism through child perspectives in (auto)fictional writing has been a prominent practice in contemporary Russian literature. In particular, the early 1980s focalized by young protagonists have become the subject of three recent novels, by Alexei Ivanov, Shamil’ Idiatullin and Alexander Arkhangelsky. This article closely examines one of these novels, Alexei Ivanov’s Pischeblok [The Food Unit] published in 2016, asking how it articulates the generation that was coming of age during the 1980s and considering the ethical implications of this articulation. The reading approaches this question by examining the genre characteristics of the novel which involve a tension between ‘generatiography’ and fantasy, and between the realist and post-post-modernist modes. It argues that this hybridity of genre and a metamodernist oscillation allow for creating a multilayered representation of the late Soviet as a space of improvisational possibilities involving play with petty monsters as well as of genuine monstrosity embodying the darker side of the Soviet. The article outlines the novel’s generational self-reflection which involves re-familiarizing the readers with the ideals that existed within socialism but were not realized by the generation which internalized state socialism’s monstrous side. At the same time, the return to the moment of struggling with this monstrosity creates an alternative turning point and the possibility of responsibility-taking.
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复活/抵抗苏联晚期的怪物:阿列克谢·伊万诺夫的《食物单位》中代代性的自我反思和责任教训
在(自动)小说写作中,通过儿童视角回忆晚期社会主义一直是当代俄罗斯文学的一种突出做法。特别是,以年轻主人公为中心的20世纪80年代初,已经成为最近三本小说的主题,分别是阿列克谢·伊万诺夫、沙米尔·伊亚图林和亚历山大·阿尔汉格尔斯基。本文仔细研究了其中一本小说,阿列克谢·伊万诺夫(Alexei Ivanov)于2016年出版的《食物单位》(Pischeblok),询问它如何表达20世纪80年代即将成年的一代人,并考虑这种表达的伦理含义。阅读通过研究小说的体裁特征来解决这个问题,这些特征涉及到“代记”和幻想之间的紧张关系,以及现实主义和后后现代主义模式之间的紧张关系。它认为,这种类型的混合和一种元现代主义的振荡允许创造一个多层次的表现,作为一个即兴的可能性空间,包括与小怪物的游戏,以及真正的怪物体现了苏联的阴暗面。文章概述了小说的代际自我反思,包括让读者重新熟悉社会主义中存在的理想,但这些理想并没有被内化国家社会主义可怕的一面的一代人所实现。与此同时,回到与这个怪物作斗争的时刻,创造了另一个转折点,并有可能承担责任。
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