The Young Guard

Alexander Fadeyev entered Soviet literature and at once justly occupied a place in the top ranks with his novel The Rout, a supremely striking book, which is, perhaps, the most stern and striking of the books about the Civil War.The last finished work was The Young Guard, a similarly stern, truthful novel about the Great Patriotic War, the German occupation, the tragic and decisive year of 1942.The writer turned grey, stepped past the borders of thirty, forty and fifty years of age, but his own revolutionary youth was ever before him as a period of inestimable value which make him kin with the ideas of Bolshevism - and for that he was thankful to his youth and loved it. The fact that it was namely Fadeyev who in the fourth year of the Patriotic War began to write about the Komsomols of Krasnodon was no accident.The Tragedy of the events in Krasnodon did not disconcert him. On the contrary, it attracted him.The Rout was written when the Civil Was had ended victoriously; The Young Guard was written when the war was drawing to a victorious close. Fadeyev wanted to show the full force of what that cost and what qualities people must have in order ultimately to win in such a war, in order to win in the future no matter in what circumstances. There is no doubt that that was the inner feeling with which The Young Guard was written.

Reproduction of the original: The Young Guard by E.W Hornung

'Stalin's last generation' was the last generation to come of age under Stalin, yet it was also the first generation to be socialized in the post-war period. Its young members grew up in a world that still carried many of the hallmarks of the Soviet Union's revolutionary period, yet their surroundings already showed the first signs of decay, stagnation, and disintegration. Stalin's last generation still knew how to speak 'Bolshevik', still believed in the power of Soviet heroes and still wished to construct socialism, yet they also liked to dance and dress in Western styles, they knew how to evade boring lectures and lessons in Marxism-Leninism, and they were keen to forge identities that were more individual than those offered by the state. In this book, Juliane Fürst creates a detailed picture of late Stalinist youth and youth culture, looking at young people from a variety of perspectives: as children of the war, as recipients and creators of propaganda, as perpetrators of crime, as representatives of fledgling subcultures, as believers, as critics, and as drop-outs. In the process, she illuminates not only the complex relationship between the Soviet state and its youth, but also provides a new interpretative framework for understanding late Stalinism - the impact of which on Soviet society's subsequent development has hitherto been underestimated, including its role in the ultimate demise of the USSR.

In the archives of the Memorial International Human Rights Centre in Moscow is an extraordinary diary, a rare first-person testimony of a commander of guards in a Soviet labour camp. Ivan Chistyakov was sent to the Gulag in 1935, where he worked at the Baikal-Amur Corrective Labour Camp for over a year. Life at the Gulag was anathema to Chistyakov, a cultured Muscovite with a nostalgia for pre-revolutionary Russia, and an amateur painter and poet. He recorded its horrors with an unmatchable immediacy, documenting a world where petty rivalries put lives at risk, prisoners hacked off their fingers to bet in card games, railway sleepers were burned for firewood and Siberian winds froze the lather on the soap. From his stumbling poetic musings on the bitter landscape to his matter-of-fact grumbles about his stove, from accounts of the conditions of the camp to reflections on the cruelty of loneliness, this diary is unique - a visceral and immediate description of a place and time whose repercussions still affect the shape of modern Russia.