Pub Date : 2023-12-08DOI: 10.31425/0042-8795-2023-6-94-105
K. L. Filimonova
Prison camp texts constitute a very important stratum of 20th-c. literature. On their way to the reader, they overcome the barriers of fear and reluctance to immerse oneself into a complex and traumatic narrative, a recurrent risk of oblivion, and repeated suppression by censorship — on behalf of the authorities and educational institutions as well as society in general. Russian and Polish literature about gulags not only shares the same trauma and publication destiny, but also common topics, methods, and approaches to describing the unutterable experience. Two writers that embody this process — Herling-Grudziński and Shalamov — never met in person, but succeeded in conveying essential messages to the reader about the destructive and corrupting effect of a prison camp, the senselessness of forced labour, and the dehumanization and degradation of a person trapped in such an environment. The literary dialogue between the two authors contains a powerful system of reference for the study of 20th-c. Polish and Russian prison camp prose.
{"title":"Literature of testimony between oblivion and deliberate omission","authors":"K. L. Filimonova","doi":"10.31425/0042-8795-2023-6-94-105","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-94-105","url":null,"abstract":"Prison camp texts constitute a very important stratum of 20th-c. literature. On their way to the reader, they overcome the barriers of fear and reluctance to immerse oneself into a complex and traumatic narrative, a recurrent risk of oblivion, and repeated suppression by censorship — on behalf of the authorities and educational institutions as well as society in general. Russian and Polish literature about gulags not only shares the same trauma and publication destiny, but also common topics, methods, and approaches to describing the unutterable experience. Two writers that embody this process — Herling-Grudziński and Shalamov — never met in person, but succeeded in conveying essential messages to the reader about the destructive and corrupting effect of a prison camp, the senselessness of forced labour, and the dehumanization and degradation of a person trapped in such an environment. The literary dialogue between the two authors contains a powerful system of reference for the study of 20th-c. Polish and Russian prison camp prose.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138586944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.31425/0042-8795-2023-6-125-134
A. P. Ter-Abramyants
The essay considers V. Shalamov’s gulag experiences that inspired his Kolyma Tales [Kolymskie rasskazy]. In this commentary on Shalamov’s work, A. Ter-Abramyants examines his personal perspective as a reader who first got hold of Kolyma Tales in the Brezhnev era, long before the book was officially published in the Soviet Union. While most gulag survivors tried to bury the memories of the camp in the deepest recesses of their mind, Shalamov poured out his experiences onto the pages of Kolyma Tales. He was convinced that, unless touched by art, nothing can survive the passing of time. He believed he owed it to the millions of gulag victims to immortalize their memory in art, despite the fact that disclosing the prison camp goings-on was severely punishable as treason. Shalamov succeeded in depicting the scale and impact of Stalin-era dehumanization: prison camps engendered loathing of labour and the discouragement of forming friendships, sharing or thinking, as even a mental activity depleted one’s physical resources. Shalamov’s powerful writings transform the reader from a bystander into a witness of crimes against humanity that defy any statute of limitation.
{"title":"Return to Shalamov","authors":"A. P. Ter-Abramyants","doi":"10.31425/0042-8795-2023-6-125-134","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-125-134","url":null,"abstract":"The essay considers V. Shalamov’s gulag experiences that inspired his Kolyma Tales [Kolymskie rasskazy]. In this commentary on Shalamov’s work, A. Ter-Abramyants examines his personal perspective as a reader who first got hold of Kolyma Tales in the Brezhnev era, long before the book was officially published in the Soviet Union. While most gulag survivors tried to bury the memories of the camp in the deepest recesses of their mind, Shalamov poured out his experiences onto the pages of Kolyma Tales. He was convinced that, unless touched by art, nothing can survive the passing of time. He believed he owed it to the millions of gulag victims to immortalize their memory in art, despite the fact that disclosing the prison camp goings-on was severely punishable as treason. Shalamov succeeded in depicting the scale and impact of Stalin-era dehumanization: prison camps engendered loathing of labour and the discouragement of forming friendships, sharing or thinking, as even a mental activity depleted one’s physical resources. Shalamov’s powerful writings transform the reader from a bystander into a witness of crimes against humanity that defy any statute of limitation.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138588315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.31425/0042-8795-2023-6-13-32
I. Shaytanov
The opposition of two terms, tradition vs reflection, is laid at the foundation of the construct which is often accepted now as a representation of world culture in the process of its staging. ‘Tradition’ stands for the collective mind and the ritual/norm, while ‘reflection’ covers the growth of the individual talent liberating itself from the normative authority of generic and other prescriptions. The borderline — beyond which the power of genre with its rules, rigidly established in the classical poetics, visibly loses its prescriptive power and individual talent takes over — is usually located somewhere between the late Renaissance and the early romantic era. Among the generic forms thatrepresent a new reflective genre, S. Averintsev reckons the novel by Cervantes, Shakespeare’s tragedies, Montaigne’s essays, Pascal’s intellectual prose... In the present article, the renaissance sonnet is added to this list due to the role it played in ‘the origin of the modern mind’ (P. Oppenheimer) and its three hundred years of domination in European lyric poetry. The sonnet, with special attention given to Shakespeare’s sequence, is analyzed after a model elaborated by M. Bakhtin for the novel and by Y. Tynyanov for the Russian ode.
{"title":"Shakespeare’s reflective genre. On reflection involved in the staging of culture","authors":"I. Shaytanov","doi":"10.31425/0042-8795-2023-6-13-32","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-13-32","url":null,"abstract":"The opposition of two terms, tradition vs reflection, is laid at the foundation of the construct which is often accepted now as a representation of world culture in the process of its staging. ‘Tradition’ stands for the collective mind and the ritual/norm, while ‘reflection’ covers the growth of the individual talent liberating itself from the normative authority of generic and other prescriptions. The borderline — beyond which the power of genre with its rules, rigidly established in the classical poetics, visibly loses its prescriptive power and individual talent takes over — is usually located somewhere between the late Renaissance and the early romantic era. Among the generic forms thatrepresent a new reflective genre, S. Averintsev reckons the novel by Cervantes, Shakespeare’s tragedies, Montaigne’s essays, Pascal’s intellectual prose... In the present article, the renaissance sonnet is added to this list due to the role it played in ‘the origin of the modern mind’ (P. Oppenheimer) and its three hundred years of domination in European lyric poetry. The sonnet, with special attention given to Shakespeare’s sequence, is analyzed after a model elaborated by M. Bakhtin for the novel and by Y. Tynyanov for the Russian ode.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138588569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.31425/0042-8795-2023-6-33-51
S. L. Fokin
The article polemizes with V. Milchina’s paper that focused on the discussion of the problem of decadence and/or decay in French and Russian intellectual cultures. The author examines several texts that feature the general cultural concept of decay in its meaning of decadence as used in literature in close relation to the concepts of modernity and nihilism. Based on his reconstruction of C. Baudelaire’s polemic with the French writer Barbey d,Aurevilly, S. Fokin concludes that, thanks to their literary dispute, the French word décadence developed a new literary, political, psychological, social, and, most importantly, modern (in reference to modernity) sense, which separates this lexeme from its earlier historical and general cultural meaning of decay. Following an overview of Nietzsche’s latter reaction to Baudelaire’s work, the author emphasizes the concept of ‘the consciousness of decadence,’ which is supposed to reveal the problematic nature of the use of décadence as the name of a literary movement. It refers to a matter more substantial, but also fleeting, transient, and ephemeral — in other words, modern, and therefore, a phenomenon of literary fashion.
{"title":"‘Let us play a game of decadence…’","authors":"S. L. Fokin","doi":"10.31425/0042-8795-2023-6-33-51","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-33-51","url":null,"abstract":"The article polemizes with V. Milchina’s paper that focused on the discussion of the problem of decadence and/or decay in French and Russian intellectual cultures. The author examines several texts that feature the general cultural concept of decay in its meaning of decadence as used in literature in close relation to the concepts of modernity and nihilism. Based on his reconstruction of C. Baudelaire’s polemic with the French writer Barbey d,Aurevilly, S. Fokin concludes that, thanks to their literary dispute, the French word décadence developed a new literary, political, psychological, social, and, most importantly, modern (in reference to modernity) sense, which separates this lexeme from its earlier historical and general cultural meaning of decay. Following an overview of Nietzsche’s latter reaction to Baudelaire’s work, the author emphasizes the concept of ‘the consciousness of decadence,’ which is supposed to reveal the problematic nature of the use of décadence as the name of a literary movement. It refers to a matter more substantial, but also fleeting, transient, and ephemeral — in other words, modern, and therefore, a phenomenon of literary fashion.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138589243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.31425/0042-8795-2023-6-190-193
O. Polovinkina
The review argues that the coauthored monograph addresses a major gap in modern studies of American literature. I. Morozova managed to bring together an international team of scholars, including specialists in Dreiser’s oeuvre. The book features several modern schools of thought. Dreiser’s image as a critic of American society is revised to highlight his portrayal of racial domination, segregation, and the ‘black’ and ‘white’ essence in his novels. The poetics of Dreiser’s prose is analyzed from the viewpoints of feminist criticism and urbanist poetics. The comparative approach allows for an accurate depiction of the uniquely American version of dandyism and helps to explain how the plot and imagery of An American Tragedy transcend various media. A study of the history of Dreiser’s publications in the USSR and a post-Soviet Russia shows the creation and subsequent dismantling of the Soviet ‘Dreiser’s canon.’ The book closes with two new translations.
{"title":"‘Dreiser’s way:’ A modern take on the writer’s legacy","authors":"O. Polovinkina","doi":"10.31425/0042-8795-2023-6-190-193","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-190-193","url":null,"abstract":"The review argues that the coauthored monograph addresses a major gap in modern studies of American literature. I. Morozova managed to bring together an international team of scholars, including specialists in Dreiser’s oeuvre. The book features several modern schools of thought. Dreiser’s image as a critic of American society is revised to highlight his portrayal of racial domination, segregation, and the ‘black’ and ‘white’ essence in his novels. The poetics of Dreiser’s prose is analyzed from the viewpoints of feminist criticism and urbanist poetics. The comparative approach allows for an accurate depiction of the uniquely American version of dandyism and helps to explain how the plot and imagery of An American Tragedy transcend various media. A study of the history of Dreiser’s publications in the USSR and a post-Soviet Russia shows the creation and subsequent dismantling of the Soviet ‘Dreiser’s canon.’ The book closes with two new translations.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138589625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.31425/0042-8795-2023-6-76-93
D. V. Krotova
The tradition of Acmeism, among others, was a defining aspect of V. Shalamov’s artistic origins. The article examines Shalamov’s artistic interaction with the prominent Acmeist poet O. Mandelstam, demonstrates the key trends in the interpretation of material imagery traceable in the poets’ works, and discusses their individual artistic approaches to developing this imagery. Mandelstam was famously revered by Shalamov the author: Not only did he produce a portrayal of Mandelstam in the short story ‘Cherry Brandy’ of the Kolyma Tales [Kolymskie rasskazy], but also drafted a speech to be delivered at a 1966 gathering dedicated to Mandelstam’s 75th anniversary (the notes are kept in Shalamov’s archive at RGALI [Russian State Archive of Literature and Art]). In his notes, Shalamov mentions that his artistic affinity with Mandelstam reveals itself in similar attention to the material world, or the world of objects; adherence to Acmeist values; and artistic and personal nonconformism. D. Krotova finds proof of this affinity in Shalamov’s poetry and prose, citing his published output as well as works preserved at RGALI.
{"title":"Material metaphors in Shalamov’s and Mandelstam’s poetic consciousness","authors":"D. V. Krotova","doi":"10.31425/0042-8795-2023-6-76-93","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-76-93","url":null,"abstract":"The tradition of Acmeism, among others, was a defining aspect of V. Shalamov’s artistic origins. The article examines Shalamov’s artistic interaction with the prominent Acmeist poet O. Mandelstam, demonstrates the key trends in the interpretation of material imagery traceable in the poets’ works, and discusses their individual artistic approaches to developing this imagery. Mandelstam was famously revered by Shalamov the author: Not only did he produce a portrayal of Mandelstam in the short story ‘Cherry Brandy’ of the Kolyma Tales [Kolymskie rasskazy], but also drafted a speech to be delivered at a 1966 gathering dedicated to Mandelstam’s 75th anniversary (the notes are kept in Shalamov’s archive at RGALI [Russian State Archive of Literature and Art]). In his notes, Shalamov mentions that his artistic affinity with Mandelstam reveals itself in similar attention to the material world, or the world of objects; adherence to Acmeist values; and artistic and personal nonconformism. D. Krotova finds proof of this affinity in Shalamov’s poetry and prose, citing his published output as well as works preserved at RGALI.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138588754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.31425/0042-8795-2023-6-186-189
N. Dolgorukova, A. O. Cheboksarinova
The Russian anthology is an invitation to Russian scholars to resume the discussion of courtesy. The review criticizes the identification of Tristan’s love for Iseult (‘Breton material’) with Dané’s feelings for Narcissus (‘ancient Greek material’) and inaccuracies in the translations of medieval topoi and genre names. The review also challenges the theoretical conclusions detailed in the foreword.
{"title":"Old French courtly poems of the 12th–13th cc.","authors":"N. Dolgorukova, A. O. Cheboksarinova","doi":"10.31425/0042-8795-2023-6-186-189","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-186-189","url":null,"abstract":"The Russian anthology is an invitation to Russian scholars to resume the discussion of courtesy. The review criticizes the identification of Tristan’s love for Iseult (‘Breton material’) with Dané’s feelings for Narcissus (‘ancient Greek material’) and inaccuracies in the translations of medieval topoi and genre names. The review also challenges the theoretical conclusions detailed in the foreword.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138587103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.31425/0042-8795-2023-6-149-163
S. A. Batalov
The article considers the phenomenon of the Ural school of poetry, an umbrella term for verses written by Ural-based poets active in the 1990s–2000s. The author examines legitimacy of the term itself. Contemporary critics’ opinion is still divided about the existence of such a school, as the term ‘Ural school of poetry’ (or USP) may refer to both poets included in Ural regional anthologies as well as Ural-specific poetics. The study proceeds to enumerate key figures defining USP and to explore the school’s characteristic features and historical development. Citing reviews by modern critics of poetry, who at one point or another analyzed the phenomenon of USP, Batalov focuses on clearing up contentious issues. For example, whether B. Ryzhy is a USP poet (it is argued that he is not, as he saw the outside world and the city — the ‘fairytale Sverdlovsk’ — as the embodiment of a cruel paradise on earth, whereas other Ural poets portrayed the city as the realm of death); whether the school’s method has a future and whether USP has any influence on modern poetry in general.
{"title":"The Ural school of poetry: An outsider’s view","authors":"S. A. Batalov","doi":"10.31425/0042-8795-2023-6-149-163","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-149-163","url":null,"abstract":"The article considers the phenomenon of the Ural school of poetry, an umbrella term for verses written by Ural-based poets active in the 1990s–2000s. The author examines legitimacy of the term itself. Contemporary critics’ opinion is still divided about the existence of such a school, as the term ‘Ural school of poetry’ (or USP) may refer to both poets included in Ural regional anthologies as well as Ural-specific poetics. The study proceeds to enumerate key figures defining USP and to explore the school’s characteristic features and historical development. Citing reviews by modern critics of poetry, who at one point or another analyzed the phenomenon of USP, Batalov focuses on clearing up contentious issues. For example, whether B. Ryzhy is a USP poet (it is argued that he is not, as he saw the outside world and the city — the ‘fairytale Sverdlovsk’ — as the embodiment of a cruel paradise on earth, whereas other Ural poets portrayed the city as the realm of death); whether the school’s method has a future and whether USP has any influence on modern poetry in general.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138587264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.31425/0042-8795-2023-6-180-185
E. Lutsenko
The review offers a detailed analysis of a new co-authored monograph devoted to world literature with a broad focus on the global community’s perception of the Russian theme, including the Russians’ national identity, the nation’s political and social structure, and traditions and customs. Exploring Russia’s active interaction with the West and the East, the author stresses the ‘unity of the diverse.’ The book discusses world literature in the articles devoted to writers from Western, Central, and Eastern Europe, South Korea, China, and Brazil. As the study is confined to the Russian theme, the book encounters limitations: not each interaction between Russia and another nation generated a sense of reciprocity (in Veselovsky’s words, a ‘countercurrent’). Even though the monograph’s geographical scope extends from Brazil to South Korea, two topics stand out: interactions with Germany, and interactions with France. Thoroughly explored by Russian comparativists, they constitute a solid foundation for the presented study.
{"title":"The Russian theme in world literature: A co-authored monograph","authors":"E. Lutsenko","doi":"10.31425/0042-8795-2023-6-180-185","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-180-185","url":null,"abstract":"The review offers a detailed analysis of a new co-authored monograph devoted to world literature with a broad focus on the global community’s perception of the Russian theme, including the Russians’ national identity, the nation’s political and social structure, and traditions and customs. Exploring Russia’s active interaction with the West and the East, the author stresses the ‘unity of the diverse.’ The book discusses world literature in the articles devoted to writers from Western, Central, and Eastern Europe, South Korea, China, and Brazil. As the study is confined to the Russian theme, the book encounters limitations: not each interaction between Russia and another nation generated a sense of reciprocity (in Veselovsky’s words, a ‘countercurrent’). Even though the monograph’s geographical scope extends from Brazil to South Korea, two topics stand out: interactions with Germany, and interactions with France. Thoroughly explored by Russian comparativists, they constitute a solid foundation for the presented study.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138587750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.31425/0042-8795-2023-6-106-124
L. V. Egorova
The article examines the history of the overseas publication of Shalamov’s short story ‘Cherry Brandy.’ The first edition appeared in Roman Gul’s NewYork-based journal Noviy Zhurnal, vol. 91 in 1968. In the period from 1966 to 1976, when fifty of Shalamov’s stories were published by Gul, the latter felt unconstrained as their sole editor. The author details Gul’s editing method that reveals the goal to ensure that the text appears smooth and adheres to the narrative tradition of realism — a style very much at odds with Shalamov’s ‘new prose.’ Gul failed to appreciate Shalamov’s structuring of text and his mastery of composition — in short, he did not see it for what it was: a poet’s prose. Mikhail Geller, then working in London, realized how big a blow it was to Shalamov to see his short stories published in a random, unsystematic manner. In 1978, Geller oversaw the publication of Kolyma Tales [Kolymskie rasskazy] by OPI and supplied his foreword to the book, in which he offered an accurate characteristic of Shalamov’s creative method. Comparison of several editions of the short story collection (Gul’s, Geller’s, and later Shalamov’s Collected works) cannot but convince of the importance of addressing the persistent textological issues of Kolyma Tales.
{"title":"V. Shalamov’s ‘Cherry Brandy:’ First overseas editions","authors":"L. V. Egorova","doi":"10.31425/0042-8795-2023-6-106-124","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-106-124","url":null,"abstract":"The article examines the history of the overseas publication of Shalamov’s short story ‘Cherry Brandy.’ The first edition appeared in Roman Gul’s NewYork-based journal Noviy Zhurnal, vol. 91 in 1968. In the period from 1966 to 1976, when fifty of Shalamov’s stories were published by Gul, the latter felt unconstrained as their sole editor. The author details Gul’s editing method that reveals the goal to ensure that the text appears smooth and adheres to the narrative tradition of realism — a style very much at odds with Shalamov’s ‘new prose.’ Gul failed to appreciate Shalamov’s structuring of text and his mastery of composition — in short, he did not see it for what it was: a poet’s prose. Mikhail Geller, then working in London, realized how big a blow it was to Shalamov to see his short stories published in a random, unsystematic manner. In 1978, Geller oversaw the publication of Kolyma Tales [Kolymskie rasskazy] by OPI and supplied his foreword to the book, in which he offered an accurate characteristic of Shalamov’s creative method. Comparison of several editions of the short story collection (Gul’s, Geller’s, and later Shalamov’s Collected works) cannot but convince of the importance of addressing the persistent textological issues of Kolyma Tales.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138588916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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