Robert A. D. Ford. A Moscow Literary Memoir: Among the Great Artists of Russia from 1946 to 1980. Edited by Carole Jerome. Toronto/Buffalo/London: University of Toronto Press, 1995. xii, 307 pp. $34.95 Cdn.

Robert A. D. Ford. A Moscow Literary Memoir: Among the Great Artists of Russia from 1946 to 1980.... muddled claims concerning androgyny and eroticism, that the Zoia s a g a was almost entirely fictional, constructed during the war and deconstructed after glasnost'. Ar- gyrios Pisiotis argues, not entirely convincingly, that Soviet demonization of G e r m a n s was "exceptionally intense"(p. 150) and that t h e s e images were a primary m e a n s of en- couraging feelings of rage and desires for revenge. In the final selection, Nina Tu- markin recounts fascinating conversations from the mid 1980s that powerfully convey the pain involved in trying to memorialize real suffering and heroism while coming to terms with the falsehoods purveyed during and after the war. One of her sources pro- vides an explanation for the shift in cultural policy that this book chronicles: "The mili- tary catastrophe of 1941-42 forced us for the first time to question Stalin ... so for many of us, t h o s e first two years of the war coincided with a s p o n t a n e o u s de-Stalinization." (p. 196) This collection is a pleasure to read and a major contribution, but most of the arti- cles http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Canadian-American Slavic Studies Brill

Robert A. D. Ford. A Moscow Literary Memoir: Among the Great Artists of Russia from 1946 to 1980. Edited by Carole Jerome. Toronto/Buffalo/London: University of Toronto Press, 1995. xii, 307 pp. $34.95 Cdn.

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Publisher
BRILL
Copyright
© 1997 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0090-8290
eISSN
2210-2396
D.O.I.
10.1163/221023997X00708
Publisher site
See Article on Publisher Site

Abstract

muddled claims concerning androgyny and eroticism, that the Zoia s a g a was almost entirely fictional, constructed during the war and deconstructed after glasnost'. Ar- gyrios Pisiotis argues, not entirely convincingly, that Soviet demonization of G e r m a n s was "exceptionally intense"(p. 150) and that t h e s e images were a primary m e a n s of en- couraging feelings of rage and desires for revenge. In the final selection, Nina Tu- markin recounts fascinating conversations from the mid 1980s that powerfully convey the pain involved in trying to memorialize real suffering and heroism while coming to terms with the falsehoods purveyed during and after the war. One of her sources pro- vides an explanation for the shift in cultural policy that this book chronicles: "The mili- tary catastrophe of 1941-42 forced us for the first time to question Stalin ... so for many of us, t h o s e first two years of the war coincided with a s p o n t a n e o u s de-Stalinization." (p. 196) This collection is a pleasure to read and a major contribution, but most of the arti- cles

Journal

Canadian-American Slavic StudiesBrill

Published: Jan 1, 1997

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