Soviet Born

In 2010, when The New Yorker published a list of twenty writers under the age of forty who were “key to their generation,” it included five Jewish-identified writers, two of whom—American Gary Shteyngart and Canadian David Bezmozgis—were Soviet-born. This publicity came after nearly a decade of English-language literary output by Soviet-born writers of all genders in North America. Soviet-Born: The Afterlives of Migration in Jewish American Fiction traces the impact of these now numerous authors—among others, David Bezmozgis, Boris Fishman, Keith Gessen, Sana Krasikov, Ellen Litman, Gary Shteyngart, Anya Ulinich, and Lara Vapnyar—on major coordinates of the Jewish American imaginary. Entering an immigrant, Soviet-born standpoint creates an alternative and sometimes complementary pattern of how the Eastern and Central European past and present resonate with American Jewishness. The novels, short stories, and graphic novels considered here often stage strikingly fresh variations on key older themes, including cultural geography, the memory of World War II and the Holocaust, communism, gender and sexuality, genealogy, and finally, migration. Soviet-Born demonstrates how these diasporic writers, with their critical stance toward identity categories, open up the field of what is canonically Jewish American to broader contemporary debates. This book is also freely available online as an open-access digital edition.

"Conversino's story is as interesting as it is unfamiliar and succeeds in opening up "Frantic's" many dimensions, including the personal as well as the political, strategic, and operational. His revelations regarding the interactions between American servicemen and Ukrainian Russians are especially valuable and underscore the immense difficulties of implementing alliances at the grass roots level". -- Dennis Showalter, author of Tannenberg: Clash of Empires

The contributors in this interdisciplinary collection address the problem of interconnection between the study of the “Other,” either Russian or American, and the shaping of national identities in the two countries at different stages of US–Russian relations. The focus of research interests were typically determined by the political and social debates in scholars’ native countries. In this book, leading Russian and American scholars analyze the problems arising from these intersections of academic, political, and sociocultural contexts and the implicit biases they entail. The book is divided into two parts, the first being a historical overview of past configurations of the interrelationship between fields and agendas, and the second covering the role of institutionalized area studies in the twentieth and early twenty-first centuries.In both parts the role of the “human factor” in the study of mutual representations is elucidating.

This new collection views Russian music through the Greek triad ofÊÒthe Good, the True, and the BeautifulÓ to investigateÊhow the idea of "nation" embeds itself in the public discourse about music and other arts with results at times invigorating, at times corrupting. In our divided, postÐCold War, and now postÐ9/11 world, Russian music, formerly a quiet corner on the margins of musicology, has become a site of noisy contention. Richard Taruskin assesses the political and cultural stakes that attach to it in the era of Pussy Riot and renewed international tensions, before turning to individual cases from the nineteenth century to the present. Much ofÊthe volume is devoted to the resolutely cosmopolitan but inveterately Russian Igor Stravinsky, one of the major forces in the music of the twentieth century and subject of particular interest to composers and music theorists all over the world. Taruskin here revisits him for the first time since the 1990s, when everything changed for Russia and its cultural products. Other essays are devoted to the cultural and social policies of the Soviet Union and their effect on the music produced there as those policies swung away from Communist internationalism to traditional Russian nationalism; to the musicians of the Russian postrevolutionary diaspora; andÊto the tension between the compelling artistic quality of works such as StravinskyÕs Sacre du Printemps or ProkofieffÕs Zdravitsa and the antihumanistic or totalitarian messages they convey. Russian Music at Home and Abroad addresses these concerns in a personal and critical way, characteristically demonstrating TaruskinÕs authority and ability toÊbring living history out of the shadows.

This detailed study traces the history of the Soviet-Polish War (1919-20), the first major international clash between the forces of communism and anti-communism, and the impact this had on Soviet Russia in the years that followed. It reflects upon how the Bolsheviks fought not only to defend the fledgling Soviet state, but also to bring the revolution to Europe. Peter Whitewood shows that while the Red Army's rapid drive to the gates of Warsaw in summer 1920 raised great hopes for world revolution, the subsequent collapse of the offensive had a more striking result. The Soviet military and political leadership drew the mistaken conclusion that they had not been defeated by the Polish Army, but by the forces of the capitalist world – Britain and France – who were perceived as having directed the war behind-the-scenes. They were taken aback by the strength of the forces of counterrevolution and convinced they had been overcome by the capitalist powers. The Soviet-Polish War and its Legacy reveals that – in the aftermath of the catastrophe at Warsaw –Lenin, Stalin and other senior Bolsheviks were convinced that another war against Poland and its capitalist backers was inevitable with this perpetual fear of war shaping the evolution of the early Soviet state. It also further encouraged the creation of a centralised and repressive one-party state and provided a powerful rationale for the breakneck industrialisation of the Soviet Union at the end of the 1920s. The Soviet leadership's central preoccupation in the 1930s was Nazi Germany; this book convincingly argues that Bolshevik perceptions of Poland and the capitalist world in the decade before were given as much significance and were ultimately crucial to the rise of Stalinism.

A “splendidly written, impeccably researched, and perfectly fascinating” look at clandestine operations from colonial times to the Cuban Missile Crisis (The Washington Post Book World). We’ve always depended on intelligence gathering to drive foreign policy in peacetime and command decision in war—but that work has often taken place in the shadows. Honorable Treachery fills in these details in our national history, dramatically recounting every important intelligence operation from our nation’s birth into the early 1960s. Among numerous other stories, the book recounts how in 1795, President Washington mounted a covert operation to ransom American hostages in the Middle East; how in 1897, Kaiser Wilhelm II’s plans for an invasion of the United States were stopped by the director of the US Office of Naval Intelligence; and how President Woodrow Wilson created a secret agency called the Inquiry to compile intelligence for the peace negotiations at the end of World War I. From a Pulitzer Prize finalist who himself worked for the CIA, Honorable Treachery puts America’s use of covert intelligence into a broader historical context, providing a unique insight into the secret workings of our country. “O’Toole offers fascinating information generally unrecorded in traditional diplomatic and military histories.” —Library Journal

This book features four essays that illuminate the relationship between American and Soviet film cultures in the 20th century. The first essay emphasizes the structural similarities and dissimilarities of the two cultures. Both wanted to reach the masses. However, the goal in Hollywood was to entertain (and educate a little) and in Moscow to educate (and entertain a little). Some films in the Soviet Union as well as in the United States were conceived as clear competition to one another – as the second essay demonstrates – and the ideological opponent was not shown from its most advantageous side. The third essay shows how, in the 1980s, the different film cultures made it difficult for the Soviet director Andrei Konchalovsky to establish himself in the US, but nevertheless allowed him to succeed. In the 1960s, a genre became popular that tells the story of the Russian Civil War using stylistic features of the Western: The Eastern. Its rise and decline are analyzed in the fourth essay.