Leavers vs. Remainers, Vol. 1

anatrrra, On the Arbat, December 2024

Kirill Medvedev,* a poet, publisher, and member of the band Arkady Kots, left Russia in 2023 and returned in late 2024. At Republic Weekly’s request, he explains his winding road, what Moscow looks like when one hasn’t seen it from the inside for a long time, and what remainers have to say about leavers.

After a year and a half of living in other countries for personal (but, of course, political) reasons, I have been living in Moscow for several months now. Despite certain risks, I really don’t want to leave, and I am terrified of everything having to do with living in exile. I’m willing to speak in allegories or even to keep silent altogether just to be able to live in my hometown. Although what could be more important than waking up in the morning and smacking the Putin regime in the face without pulling your punches?

Everything in Moscow is still familiar and homely. I am indifferent to Sobyanin’s renovations. Things have improved in some places, while in other places it’s the reverse. Half-abandoned spots have suddenly emerged even in the most expensive neighborhoods, as if the money had suddenly been hoovered out of them. I’m certain that’s literally what happened.

I don’t see any particular feasting amid a plague, but I guess I’m just not hitting the right spots. Moscow has become more desolate and wild on the whole. When the capital is finally moved to Siberia, the Moscow I know and love will look even better. But for now, it is still what it is: a crazy quilt fashioned from Eurasian chaos, absorbing a million shades of the glitz and poverty of the entire country and its neighbors, and tempting us with new revolutions somewhere in its squares and back alleys.

All of Russia can be found in Moscow, and yet, as everyone knows, Moscow is not Russia. Thanks to this fun fact, it is easier for Muscovites than for anyone else to love the entire country, albeit an imaginary and unfathomable country, shaped from different scraps. “I stand as before an eternal riddle, / Before a great and fabulous land,” sang one remarkable Muscovite. I repeat another poet’s line about another city, thinking that love for one’s capital city and one’s country is an enormous, complicated privilege: “May it not be my lot / To die far away from you.”

Online public communication habits have actually changed a lot because of the risks involved. It no longer feels like your event didn’t happen if it wasn’t written up online and if you didn’t post a photo of yourself with a crowd of happy spectators.

There are [now] more personal channels of communication within communities and more word of mouth. Reactions are more reserved in public and more emotional among friends. Pardon my sentimentality, but there is little to compare with physical hugs with friends and family in a city charged with your own and other people’s memories.

Of course, there are a lot of new problems, and I’d rather deal with some variety of internet addiction than the nightmare in which everyone has found themselves. And yet there is the perception that the war has ushered in the degradation of all ways of living in Russia. This is not true. Humans are ultra-creative and crafty creatures. Violent shocks do not neutralize life but propel it into new forms. A caveat: no new ways of living and creating can justify the mass murder of people who will never wake up to life again. But cultural, activist, educational, and other communities who persist and change, albeit semi-clandestinely, albeit at the cost of compromise or risk, increase our chances of transitioning to a different way of living in this country in the future. The more allies we have here at home now, the more likely they are to be in the right place at the right time—that is, if the first flights our friends who have been shoved out of the country plan to take are delayed a bit.

Irony or irritation towards the people who have left [Russia] for one reason or another is evident among almost all those who have stayed, except for those who are definitely planning to leave. One of the frequent complaints is “They left to live in safety, and they did the right thing—they just shouldn’t pass it off as a political act.”

That is true, though with many caveats. Bravo, of course, to the activists who have been helping people who have to leave to get out of the country and to adapt to life abroad. Bravo to the journalists who have moved to relatively safe places and continue to fulfill their professional obligation to their fellow citizens. Regular albeit serious news, reported with respect for themselves and the audience, without unnecessary harshness (“so that you can send it to your grandmother”) is needed desperately: almost everyone talks about it. But pessimism and aggression about life inside the country on the part of fellow citizens who have left the country is completely out of place. It is clearly old-fashioned exile self-therapy and should be practiced in private.

While the demand for alternative information is great (many people in the USSR who were not necessarily anti-Soviet also listened to Voice of America), one can see skepticism or simply a lack of interest in émigré politics. Why is this the case? There seem to be many examples in history when political émigrés came back home, were involved in great transformations, or even spearheaded them. Escaping from prison in Russia, making one’s way abroad, drinking to a successful adventure with comrades in Geneva, discussing future strategies in a relaxed atmosphere, and soon returning home to work underground was a typical trajectory for Russia’s radical democrats in the early twentieth century.

Things have changed since then, although today many also travel back and forth. You can talk at length to those who have stayed in Russia about the hardships of emigration, and they will agree and sympathize with you, especially if you were actually in danger here at home.

For the most part, though, people still see someone else’s moving abroad as their means of upgrading their private existence.

By renouncing your past life, it is as if you automatically renounce your past community. The propaganda, of course, does its best to inflate the resentment, but it’s not just propaganda at work. Emigration is indeed an experience of constant self-denial. Especially today, when Russian emigrants are so evidently prodded (gently and not so gently) to cancel themselves in terms of of their citizenship, background, language, identity, or even flag. Moreover, the reanimated ethical-religious discourse of the Cold War, with its confrontation between good and evil on a global scale, has played a considerable role in this.

The field where dialogue should have taken place between leavers and remainers, as well as between moderate oppositionists and hesitant loyalists, has been overrun by moralizers in proverbial white coats and rabid patriots. They are the dividers and conquerors.

The leavers more often argue in terms of negative freedom—freedom from censorship, political crackdowns, and military mobilization, from having to indirectly finance the war or live among its supporters. The remainers stay because they do not see how they can realize themselves abroad, at least not without the sort of superhuman effort and self-denial that many of them find more frightening than living under the threat of arrest or self-censorship. They often speak of duty—to elderly relatives, students, patients, voters, political prisoners, the graves of relatives, the homeland, etc. And they often hear in response that it is immoral to be involved in the normalized life in today’s Russia. The ethical conflict is evident.

I wander the Pokrovkas and the Ordynkas, thinking about where I can get money to pay the bills and pay off my debts. There are posters calling for men to sign up for the army. Somehow I don’t feel more upstanding than the guys who go off to kill for money. I would definitely not go to do that, but this certainty does not raise my moral self-esteem. I think of an old comrade who perished in the “special military operation.” His debts, low social status, and leftist anti-western ressentiment had blossomed into imperialist obfuscation.

I sit in a cafe, thinking about my plans. The people around me talk about different things, while people in a neighboring country are bombed in our name.

I’m good at displacing unpleasant things. We all are good at it.

Being here, dissolving into this life, it is difficult to feel like a member of an ethics committee. It’s easier to realize that all people are basically the same, that there are no insuperable differences between them. All our actions (whether ordinary, shameful, or magnificent), all the passivity of the masses, all the revolts of nations, are manifestations of the same human principle in different historical circumstances. The way humanness manifests itself in our present circumstances, the way my own humanness manifests itself in them, is the most interesting thing to observe. Okay, we’ve established that.

No, of course, there is a huge difference between opposition to evil, passive non-participation, and complicity in it. Putin’s propagandists have been blurring the distinction between the first, second and third to depoliticize and morally degrade society. We know this, and you can’t fool us. In both the secular and Christian systems, a person always has a choice and a responsibility for it. We should not see the individual as a unwilling victim of want and propaganda. But something else is also true: even if you believe that you have made your own super-correct moral choice once and for all, endlessly judging your neighbor, or believing they are made of some qualitatively different stuff than you, or finding them complicit in collective guilt without trial is also a quite devilish temptation, akin to the temptations proffered today in our country by various spiritual and political leaders.

Political evil is countered not by personal virtue, and even less by moralistic posturing. It is countered by political or civic ethics, but our country has a huge problem with that.

All the debates between the leavers and the remainers, all the debates over the slogans “peace now” vs. “war until the dictatorship’s defeat,” all the debates about whether Navalny should have returned to Russia, revolve around the missing answer to the ethical (aka political) question: for what are we willing to risk our private lives, for what collective ideals?

I certainly don’t have a clear answer. Russia is long past the heroic times of liberalism and socialism, when people believed that civic heroism was not weak-mindedness or recklessness, but a deliberate, mature step toward a better future. Popular willingness to take to the streets against war and dictatorship is impossible without the conviction that we are on the right side of history, that we are in a movement that both overlaps with and transcends our private interests.

The Bolsheviks believed in communism’s inevitable advent on a global scale, and were able to convince many people this would happen, which was why they won. In 1991, Russians believed that by defending the [Russian] White House and confronting the coup plotters’ tanks, they were leading Russia onto the road of progress which all democratic nations were already rolling down. Whether we like it or not, Russia is not ready to follow any well-trodden path. There is no single road anymore: the road is just going to have to be paved anew. (I’m reckoning on this.)

Today we see a faint glimmer of hope in republicanism, with its idea that community spirit is not a consolation prize for people who lack professional fulfillment and personal happiness. It is not reducible to a professional or personal virtue and is not a profession itself.

Anyone willing to stand with others to oppose tyranny and then work every day to prevent it from happening again is capable of demonstrating civic valor. And the brighter, bolder and more constructively a person commits to this work, the more they make use of their professional, creative and other kinds of potential, the greater their authority in the community will be and the more likely they will remain in the community’s memory. This sounds good as a motivation, but if the republican ethic is realizable, then it is realizable in the small and medium-size spaces of campaigns around residential buildings, courtyards, neighborhoods, and (at most) cities, where it is possible to find analogues of the ancient Greek square for people to hold meetings.

A national community is imaginary, no matter how you look at it, and it is based on a rather sketchy common historical plight and collective memory. If we do not want it to be the memory of how “everyone was afraid of us,” it should be the memory of how we survived together and resisted—secretly and explicitly, passively and actively—the extermination of others and self-extermination, of how we built ties, engaged in “culture,” taught children, supported political prisoners, and helped the bombing victims and the homeless.

This is the ground of community, a ground not nourished by moral superiority, by denying oneself and one’s roots, or by essentializing differences. It is nourished by responsibility for the people who stand or have stood next to you in the same squares and the same queues, for the people who walk the same streets, who went to the same schools, who share the same hopes for the future.

If we indeed stand on this ground, then it makes sense for us to challenge and set our hearts on something together.

* Medvedev has been placed on the Russian Justice Ministry’s registry of “foreign agents.”

Source: Kirill Medvedev, “I Returned to Moscow from Exile and I Don’t Want to Leave,” Republic, 5 January 2024. Translated by the Russian Reader


Yosif [sic] Brodsky, “Stanzas to the City,” trans. Nicholas Zissermann, Landfall 20, 2 (1966): 152. You can read the original poem in Russian here.

Tautology (2)

Gartenstadt Falkenberg and Preussensiedlung

Yesterday was a rare sunny, warm day, so my boon companion and I traveled to the city’s far southeast to walk through Bruno Taut’s Falkenberg Garden City in Berlin-Bohnsdorf. It was like a tiny vision of heaven.

As it happened, it was also a short walk from Max Bel, Franz Clement, and Hermann Muthesius’s Prussian Street Estate, which was also quite handsome and built to a properly human scale.

I’ve noticed Berlin’s modernist housing estates seem to have had a beneficent effect on their neighborhoods, so that even current architects designing new houses and developments there try to get into the Tautian spirit, as it were. The overwhelming impression, however, is that you’re looking at a future we have lost forever.

The Russian Reader, Berlin-Friedrichshain, 30 March 2019


And now we come to this verb “see.” Within fifteen lines it’s been used six times. Every experienced poet knows how risky it is to use the same word several times within a short space. The risk is that of tautology. So what is it that Frost is after here? I think he is after precisely that tautology. More accurately, non-semantic utterance. Which you get, for instance, in “’Oh,’ and again, ‘Oh.’” Frost had a theory about what he called “sentence-sounds.” It had to do with his observation that the sound, the tonality, of human locution is as semantic as actual words. For instance, you overhear two people conversing behind a closed door, in a room. You don’t hear the words, yet you know the general drift of their dialogue; in fact, you may pretty accurately figure out its substance. In other words, the tune matters more than the lyrics, which are, so to speak, replaceable or redundant. Anyway, the repetition of this or that word liberates the tune, makes it more audible. By the same token, such repetition liberates the mind—rids you of the notion presented by the word. (This is the old Zen technique, of course, but, come to think of it, finding it in an American poem makes you wonder whether philosophical principles don’t spring from texts rather than the other way around.)

Source: “Joseph Brodsky: On ‘Home Burial'”

Gennady Shpalikov: The Soviet Guy Debord

Alexander Ivanov, “Gennady Shpalikov: Being Restless” (in Russian, with no subtitles)

Gennady Shpalikov and Guy Debord were nearly the same age, and their popularity peaked at the same time. But is this the only thing that unites the French philosopher and the Russian writer? Alexander Ivanov, founder of the publishing house Ad Marginem, will show that these two figures were connected not only by the time in which they worked but also by the very spirit of the time, which they saw, felt and were able to convey to others.

Debord’s adage “Love is possible only on the eve of a revolution” could well have been endorsed by Shpalikov.

Debord was the founder of Situationism.

An amazing poet, screenwriter, and director, Shpalikov was the Soviet Guy Debord. Like Debord, Shpalikov had an explicitly spatial mind: he understood space not as a receptacle for bodies but as a way of assembling the soul in the gaps, intervals, and flashes of aimless, unprogrammed, slippery movements around the urban environment. Debord called this mode of movement détournement — a deviation, an illegitimate, reverse appropriation in which the spaces and cultural signs captured by other people’s meanings are reappropriated by turning them inside out semantically or simple shifting their meaning. This was exactly how Shpalikov dealt with the anonymous, official space of the Soviet city: by romanticizing its most banal corners and nooks. Both of these artists conjured the mood of an entire epoch in the late 50s and early 60s.

0:00 Teaser

0:18 Why Gennady Shpalikov is the Russian Guy Debord, and what Soviet existentialism has to do with it

3:32 Guy Debord as the founder of Situationism: “Never work”

6:34 Henri Murger, Guy Debord and Gennady Shpalikov’s characters as bohemians

8:32 Guy Debord’s psychogeography: the drift as a practice for discovering a city’s atmosphere

9:55 Debord’s Paris and Shpalikov’s Moscow

10:50 Alexandria as the capital of memories

12:32 Shpalikov’s poetics and Debord’s Paris: between the real world and the imaginary world

14:07 Sartre’s nothingness as the key to understanding Shpalikov’s poetics

16:20 Sartre’s being-in-itself and being-for-itself, or predetermination and consciousness

18:38 The philosophy of existentialism: existing in a situation as in the fabric of life, which is not defined by personal qualities

20:25 Non-narrative shots from Shpalikov’s films: scenes from I Walk Around Moscow

21:56 Situationist form as a link between Shpalikov’s poetics and the philosophy of existentialism

25:52 Existentialism in cinema: the atmosphere of the movie Breathless

27:08 Shpalikov’s psychogeography for Moscow

30:45 How to reprise Shpalikov’s existential know-how in today’s Moscow

31:45 Détournement: reverse appropriation and distortion of meaning for reclaiming the poetry of urban space

33:28 How Shpalikov rejects Soviet Moscow and appropriates the space of the city in the movie I Walk Around Moscow

37:03 The transformation of Shpalikov’s natural charm into poetry

38:45 The poetic eternity of Nikita Mikhalkov’s character in the movie I Walk Around Moscow

40:42 The dream of an imaginary West as the driver of Soviet existentialism

Source: Peredelkino Dom Tvorchestva (YouTube), 10 October 2024


November 1 is the fiftieth anniversary of the death of Gennady Shpalikov, the screenwriter, filmmaker, and poet, one of the symbols of the Thaw era, an extremely popular writer and yet one whose work has been poorly read. Igor Gulin explains how Shpalikov looked for an answer to the question of where good people end up, and how the drama of his characters reprised his own.

Gennady Shpalikov on the set of the film I Am Twenty. Photo: Gorky Film Studio

Screenwriting was an honorable profession in the Soviet Union. Screenwriters were not considered to be craftsmen consigned to the sidelines, but serious writers, and so the screenwriter’s name was listed first in the credits, before the director’s. Nevertheless, not even the best of them were stars. Gennady Shpalikov was an exception. From his very first efforts in cinema, his name was a symbol of the new art of the Thaw — first among his fellow filmmakers, then for a relatively wide swath of the intelligentsia. His death in 1974 was a token of the sixties generation’s demise.

The cinematic Thaw was already in full swing by the time Shpalikov joined the profession. Marlen Khutsiev and Felix Mironer’s Spring on Zarechnaya Street (1956), Mikhail Schweitzer’s The Tight Knot (1957), Mikhail Kalatozov’s The Cranes Are Flying (1957), and Grigory Chukhrai’s The Ballad of a Soldier (1959) had been released, but these beautiful pictures still lacked something that would instill a sense of decisive reform and renewal. Shpalikov carried out a tiny revolution in Soviet cinema — not alone, of course, but he was its leader. He contributed an open sense of form, showing that a movie could be something other than an itinerary from point A to point B. It could be a stroll, a stroll with no clear goals, from one impression to another, from one funny and touching incident to another.

Almost all of Shpalikov’s scripts from the 1960s are just such cinematic walkabouts: A Streetcar to Other Cities (1962), directed by his friend Yuli Fait (1962); The Star on the Buckle (1962) and I’m from Childhood (1966), written for Viktor Turov; I Walk Around Moscow (1963) directed by Georgiy Daneliya; The Wharf and Summer Holiday, which were never made into films; A Long Happy Life (1966), of course; and Ilyich’s Gate (1962–1964) to a great extent. This film was more complicated, however. Khutsiev’s lofty idealism counterbalanced Shpalikov’s nimble gifts, and it was their confrontation and, at times, conflict that gave birth to a masterpiece. This later worked with Larisa Shepitko, when she and Shpalikov agonizingly co-wrote You and I (1971). To produce something truly significant, Shpalikov needed a co-writer-slash-director — a collaborator and an opponent, not a faithful executor of his ideas.

The stroll was the genre not only of Shpalikov’s creative work but also of his life. He existed in the same way, charming everyone he met, traipsing from one crowd to another, from one idea to another. He wrote the same way: on telegram blanks and napkins, not bothering with punctuation and spelling, and often not worrying whether the text was coherent, paying mind to its intonation and pacing, rather than to the idea and the logic of form. His scripts and songs, poems and prose experiments often seem sloppy to a sober eye. But their sloppiness never irritates: it comes across as organic, as a hallmark of authenticity.

Dozens of memoirs have been written about Shpalikov. Their authors constantly wonder aloud how it happened that this carefree, lively man took to drinking heavily and eventually committed suicide. They often blame the era. There is some truth to this, but it is a little different than is commonly thought. The Stagnation was not only a time of disillusionment after the upswing of the Thaw. It was also a time of complication. The members of the Sixties generation who continued to create and grow learned to resist better. It required them to mobilize their inner strength, making them more reflective and deeper. Shpalikov was a genius of splendid superficiality, of drifting and gliding. He understood this perfectly well. The drama of his art kicked off long before the frosts of the Brezhnev era set in.

Gennady Shpalikov, 1965. Photo: Georgy Ter-Ovanesov/RIA Novosti

The same disturbing intuition — sometimes well concealed, sometimes voiced as directly as possible — was evident in everything Shpalikov wrote. Surprisingly, this anxiety was hardly detected by his contemporaries, who remained under the hypnosis of the myth they had created themselves. It concerns the central figure of Shpalikov’s entire oeuvre. What to do with the fact that the “good man,” about whom he always wrote, so easily goes to the bad? What to do with the fact that charming frivolity quickly turns into grim irresponsibility, moral freedom into immorality, the freewheeling life of the tumbleweed into pathetic escapism, and nonstop wittiness into nauseating clownishness? Committed to the utmost sincerity, Shpalikov had an absolute ear for falsity and from the very beginning heard the rudiments of falsity in himself. Perhaps that is why he seemed doomed (and suicidal notes appear in his texts very early on). Drunkenness, however, made it easier for him to accept his fate.

This intuition is almost nonexistent in Ilyich’s Gate, in which the romantics and the bastards are delineated from each other. But it is already present (for the time being, as a quite vague hint) in I Walk Around Moscow (the young Nikita Mikhalkov’s ambiguous charisma works perfectly in this regard). It is also palpable in The Wharf, Shpalikov’s first major feature. (Its director, Vladimir Kitaysky, committed suicide while working on the picture, and the movie was never completed.) The script of The Wharf is an enchanting, airy text centered on a rather savage deed. Coming to Moscow for a single evening, the main character, a barge captain, decides to kidnap his son from his mother, wanders around nighttime Moscow with the boy for a long while, and when he falls asleep on a bench, simply runs away to his barge. A good guy’s transformation into a scoundrel is amped up to wholly Dostoevskyean cruelty in Summer Holiday and A Charming Man’s Day (another script that was never produced). This trajectory devolves into total despair in You and I, in which a Thawnik’s romantic flight to the Far North is played out as an egoistic escape from his own worthless life, frittered-away talent, ruined romance, and lost friendship.

Shpalikov never judges his characters: their meannesses and downfalls just happen. There is no reflection at all in his art. There is only movement, and this movement has its own laws. At the beginning of the trajectory there is a good, harmonious man, but once chosen, the freewheeling life gradually whittles him down to the ugly figure of a cynic, a vulgarian, a scoundrel. Shpalikov has a very frank poem about this:

Аh the streets, the only refuge
Not for the homeless, but for those who live in the city.
The streets pester and haunt me,
They are my comrades and my adversaries
.

I don’t feel as if I am walking them,
I obey them, I move my feet,
And the streets guide me, they lead me
Through a sequence set once upon a time,

A sequence of cherished back alleys,
A sequence of jaunty notions and good intentions.

The same thing happens in Shpalikov’s only directorial work. A Long Happy Life is usually remembered as a light, lyrical picture, but actually it is chockablock with contempt for oneself and one’s kind. It is a movie about how a typical man of the 1960s, a charming unshaven geologist, runs off into nowhere and away from a beautiful woman, and at the same time from any future, from that selfsame long happy life, simply because he cannot help but run. A lighter note is generated by the finale: the famous five-minute scene of a barge on a river is Shpalikov’s homage to Jean Vigo’s L’Atalante, his favorite film.

This is Shpalikov’s main gimmick. As intoxication relieves a hangover, so the shame of escape is relieved by yet another escape. And if the body can no longer escape, there remain flights of fantasy. Distracted from the protagonist’s mediocre fate, the gaze follows the barge and loses itself in this marvelous tracking shot. All of Shpalikov’s best poems are about the same thing: not about the joy of life, but about the desire to escape from it to a place that is obviously impossible, somewhere “where mother is young and father is alive.” To leave, but not by sinking into drunkenness, illness, and rows, but to disappear gently, to be weathered away from the world. “My head is vacant, / Like a deserted place. / I’m flying off somewhere, / Like a tree from a leaf.”

Source: Igor Gulin, “Elusive simplicity: how Gennady Shpalikov found no place for himself in the Stagnation,” Kommersant Weekend, 1 November 2024. Translated by the Russian Reader


I Walk Around Moscow (1964). In Russian, with English subtitles

Source: Mosfilm (YouTube)

Professors

Fredric Jameson

In 2006, [Fredric] Jameson spoke at a conference in Moscow and then visited Petersburg for a few days. [Elena] Petrovskaya asked me to show him around the city. Jameson stayed at the apartment of Artemy Magun, who was out of town but left the key. The program was the most predictably capitalist, with opera-schmopera, Malevich-schmalevich, the fountains of Peterhof and other logic of cultural consumption. On the third day I got tired of it and invited Jameson to a birthday party for little Tasya Zaslavskaya in [the painter Anatoly Zaslavsky’s] studio, which was chockablock with preschoolers, cakes, Fanta and balloons. There was also Foma [Thomas] Campbell and dancing. I should re-read Brecht and Method. RIP.

Source: Alexander Skidan (Facebook), 23 September 2024. Translated by Thomas “Foma” Campbell. Photo, above, courtesy of Duke Today.


[Arlie Russell] Hochschild gets a lot right. Still, as an investigative journalist who covers the MAGA movement, her portrayal of Trump’s America sometimes felt incomplete to me. She mentions how a pastor was radicalized by the QAnon conspiracy theory on the Telegram app, but such online worlds, which can become realer for their believers than the physical world, aren’t captured here with the same concrete specificity as what’s happening on the dusty back roads of small-town Kentucky. And her portrayals of the wounded masculine pride and white nationalism that she suggests drive some Trump voters can feel chilly, distanced by sociological and psychological analysis; in person, such emotions are palpably volcanic.

I finished “Stolen Pride” nagged by the sense that she wasn’t giving us the full picture — most of all, of her own place in it as a retired professor from the University of California, Berkeley embedding in Pikeville to explain its residents to themselves and the nation. It’s a position that I suspect triggered at least some stereotypes that conservatives have about liberals thinking they know better. And yet her ethnography is frictionless. There is none of the grinding of opposing viewpoints so common during this contentious political time. There is little sense of what they thought of her and her project.

Instead, Hochschild has produced a seamless election-season-ready explanation of conservatism that might be just a little too neat. What, I kept wondering, would her subjects say was her “deep story”? And would including that viewpoint in her book have destabilized its carefully engineered explanations? If America is increasingly divided into two countries, one liberal and one conservative, what would it have meant to compare their two deep stories in one narrative rather than have one side tell the other how it is?

Source: Doug Bock Clark, “What Makes the Far Right Tick?” New York Times, 10 September 2024


We can all agree that Vladimir Putin is a bloodthirsty brute, whose invasion of Ukraine was a shameful act of aggression. Having said that, I personally would wish this horrible war to end as soon as possible, which will almost certainly mean with some degree of compromise. When Snyder writes that, for America to remain “the land of the free” half a century from now, “Ukraine must win its war against Russia,” does he really believe that’s possible? Does “winning” mean a Russian capitulation comparable to the German generals’ unconditional surrender in May 1945? The only way anything of the kind could conceivably happen would be following a coup to overthrow Putin, a most desirable outcome but improbable at present.

And when [Timothy] Snyder writes that if Ukraine’s “allies fail it, tyrants will be encouraged around the world, and other such wars will follow,” some of us are old enough to feel that we’ve seen this movie before. It was called the domino theory, and it was invoked to justify the Vietnam War — fought in the name of freedom, but bringing much unfreedom in its wake.

This may seem a gloomy and unhelpful way to end a review of a stimulating and well-intentioned book. Of course Snyder is right, in the sense that his heart’s in the right place. I share his horror at crimes past and present. I only wish I could share his optimism about the future.

Source: Geoffrey Wheatcroft, “Can Americans Have Democracy, Freedom and Other Nice Things?” New York Times, 19 September 2024


Danila Davydov

I see the beetle’s quiet race
and how the dragon-fly doth hover.
the vileness of late-soviet life
cannot be grasped by those who’re younger.

the star that shines is not for you
and not for you the tomcat's purring.
just utter murk and drudgery
no matter what yurchak might claim.

and nowadays? while nature peers
into itself, we seek in vain
to comprehend the somersaults
of active and yet vacant things.

Данила Давыдов

я вижу тихий бег жука
и зависание стрекоз.
всю мерзость позднего совка
ты не поймешь, коль позже взрос.

не для тебя горит звезда
и кот не для тебя урчал.
там только мрак и маета,
что б ни рассказывал юрчак.

а ныне что? природа зрит
в саму себя, и мы вотще
постичь пытаемся кульбит
активных, но пустых вещей.

Source: Ainsley Morse (Facebook), 12 October 2024. Danila Davydov (born 1977) is a poet, critic, and editor. His poem and her translation of it are reprinted here with Professor Morse’s kind permission.

Good Clean Fun

Photo: Pelagiya Tikhonova/Moskva Agency (via Moscow Times)

All modern entertainment that “undermines” traditional values should be banned in Russia, conservative philosopher and “Russian World” ideologue Alexander Dugin has said.

“Only morally healthy entertainment should be allowed — first of all, round dances and traveling around one’s native land, and even better, pilgrimages to holy places. Everything else should be banned,” Dugin wrote on his Telegram channel.

According to Dugin, a healthy nation should have wholesome leisure activities, “and not all of that stuff.” As a negative example of entertainment, he cited KVN, which has become, he claims, “a poisonous matrix of degeneration.”

“The sinister nature of this pernicious phenomenon is now clearly visible. [Ukrainian President Volodymyr] Zelensky, [comedian Maxim] Galkin, and all the rest,” Dugin said.*

Earlier, the philosopher claimed that the West regards Russia as its principal foe because Russian President Vladimir Putin has been reviving traditional values and liberating the country from global influence. This, in his opinion, is what provoked the disgust of Western “progressive elites” with Putin.

Dugin has also argued that Russia has neither a parliament nor democracy, but a de facto monarchy headed by Putin, who can do whatever he wants. The philosopher noted the irrelevance of certain laws in Russia, as well as the people who propose or support them. In his opinion, all of this is “boyars dancing for the time being,” that is, until the sovereign pays attention to the antics of these “selfish and thieving bastards.”

Dugin has argued that Russia itself is the Katechon — the last bulwark against the Antichrist, who today reigns in a West “totally perverted” by LGBT+, postmodernism, relativism, and transhumanism.

The philosopher has dubbed the war in Ukraine “the most important event in history.” In his opinion, it is being waged on behalf of a multipolar world, with many superpowers. Consequently, according to Dugin, Russia will free other countries of the world from Western liberal imperialism, in whose grip they are trapped. And yet, Dugin acknowledged that Russia would lose a great many people in the course of the war.

* Zelensky was captain of the Kryvyi Rih KVN team Kvartal 95 from 1998 to 2003.

Source: “Dugin suggests banning all forms of entertainment in Russia except round dances,” Moscow Times Russian Service, 23 July 2024. Translated by the Russian Reader


[...]

Enter Thoughts of Days to Come, dressed to the nines in khaki blouses.
They are lugging atom bombs, ICBMs, a launching pad.
O, how they reel, dance, and caper: “We are warriors and carousers!
Russians and Germans will fall together; for example, at Stalingrad.”
And like old widow Matryona, cyclotrons are dumbly howling.
In the Ministry of Defense a nest of crows is loudly cawing.
Look at the pillow. What do you know!
Shiny medals all in a row.

“Where there’s a will, there’s a way.”
“A pint of vodka, they say,
Soon’ll be a ruble a pop.”
“Mom, I really don’t love Pop.”

Enter a certain Orthodox, saying: “These days I’m number one.
I’m pining for the sovereign, and in my soul the Firebird flares.
Soon Igor will reunite with Yaroslavna and have his fun.
Let me make the benediction or else I’ll box you on the ears.
Worse than evil eye or herpes is the plague of Western thinking.
Sing, accordion, and drown out the saxophone, jazz’s vile offspring.”
On the icons they plant a kiss,
Sobbing victims of circumcis—

[...]

Source: Lib.ru. Translation by the Russian Reader

When the Soul Can’t Keep Silent

Aydyn Zhamidulov. Photo: Russian Defense Ministry via Kommersant

Kommersant has learned that a military court has begun hearing the criminal case against Senior Lieutenant Aydyn Zhamidulov, a platoon commander in the Airborne Troops, and his subordinate, Private Alexei Dorozhkin. The Russian Investigative Committee alleges that the men kidnapped a young woman who had threatened the officer that she would tell his wife about their relationship and took her to their unit’s temporary deployment point as a Ukrainian spy. There, they stabbed the victim to death and blew up her body in an attempt to conceal their crime. Zhamidulov gained renown for writing patriotic poems during his combat training and was shown reciting them on Telegram channels.

The criminal case against Senior Lieutenant Zhamidulov and Private Dorozhkin was submitted to the Southern District Military Court, sitting in Rostov-on-Don. The men are accused of the kidnapping and brutal murder of a resident of the Luhansk People’s Republic per articles 126.1, 105.2, 30.3, 33.4, and 244.2 of the Russian Criminal Code.

In the file of the case, as investigated by military investigation units at the Russian Investigative Committee, it is reported that Zhamidulov is twenty-eight years old, a native of Kazakhstan, and lived in the Pskov Region. He has a higher education, is married, and was raising two daughters.

In January 2022, Zhamidulov signed a contract with the Defense Ministry and, in the rank of senior lieutenant, served as commander of a parachute platoon in an airborne assault regiment of the famous 76th Airborne Division.

In late 2022, a video was widely circulated in social networks and the media in which Lieutenant Zhamidulov recited a poem of his own about the those involved in the special military operation. At the end of the recital, the officer stated that his family was proud of him and was waiting for him to come home.

Dorozhkin was mobilized on 1 January 2023. Ranked as a private, he served as a senior scout in the Airborne Troops.

According to investigators, at about eight p.m. on 13 January 2023, Zhamidulov and other military men, including Dorozhkin, were drinking hard alcoholic beverages at the Rainbow Cafe in Luhansk. About half an hour later, local resident Valentina Davronova, with whom Zhamidulov had previously been in an intimate relationship, entered the cafe.

A row broke out between the senior lieutenant and the twenty-three-year-old woman. Fearing that Ms. Davronova would report their relationship to his wife, Zhamidulov decided to deal with the young woman, the case file says. He told his subordinates that he would take Ms. Davronova to her current boyfriend.

The young woman was put in the back of a KamAZ truck, and when the truck arrived at the unit, Zhamidulov tied her hands with duct tape. Dorozhkin, who went with them, was ordered by the senior lieutenant to tape Valentina’s eyes, which he did.

To avoid questions from his subordinates and make his actions look legitimate, the investigators note, Zhamidulov told them that Ms. Davronova had served in the Ukrainian army from 2018 to 2021 and had tattoos featuring Ukrainian symbols on her body. He also alleged that she was engaged in intelligence on behalf of the Ukrainian armed forces.

The young woman was taken to a soldier’s bathhouse, where Zhamidulov stabbed her about two dozen times in different parts of her body. At that time, the commander of a reconnaissance platoon combat vehicle, Sergeant Roman Pleshcheyev, entered the bathhouse (his case will be tried separately). Zhamidulov ordered him to finish off the victim. Not wanting to kill her, but fearing negative consequences on the part of the senior lieutenant, Plescheyev stabbed Ms. Davronova with his knife in the area of her left shoulder and right leg.

At 12:20 a.m., Dorozhkin entered the bathhouse, and Zhamidulov instructed him to finish what he had started. Pleshcheyev left the room and Dorozhkin killed the victim by stabbing her in the area of her heart.

Having made sure that the young woman was dead, Zhamidulov ordered his subordinates to take the body outside the temporary deployment point and detonate it with three F-1 grenades so that the deceased could not be identified and the cause of her death could not be determined.

Nevertheless, the crime was solved literally while the trail was still hot. All three defendants were detained and then remanded in custday by a military court.

The case is now in preliminary hearings, and is expected to be considered on the merits this summer. Zhamidulov’s lawyer Natalia Kokhan refused to comment on the case without vetting her answers with her client.

Source: Kristina Fedichkin, “Paratrooper poet accused of murder,” Kommersant, 29 May 2024. Translated by the Russian Reader


[…]

WHEN THE SOUL CAN’T KEEP SILENT

Aydyn Zhamidulov. Photo: Komsomolskaya Pravda

Aydyn Zhamidulov was mobilized from the Orenburg Region. As a civilian he worked as a welder, but now he serves in an Airborne Troops reconnaissance unit. He has a wife, two daughters, and his parents waiting for him at home.

“I was retrained in my specialty. In the short period of mobilization combat training, everything — camouflage, identifying the enemy, working with topographic maps, artillery fire — is very easy to learn,” Zhamidulov said.

All of the things he saw and his interactions with his fellow soldiers inspired Aydyn to write poems. They are plain but honest and poignant, straight from the heart.

Always our ancestors fought evil.
They wrote history with blood, with the pen.
They weren’t afraid to go all the way.
They removed shackles, they united hearts.
Now, our brothers, it’s our turn
To defend our country, our home, and our people.
To do justice, to open their eyes.
The enemy is in deep,
like a needle under the skin.
Let us strike down the puppeteers,
the servants of evil,
Who pull the strings
Of bewildered people,
Of gray-haired mothers
shedding tears
For them, the lives of people
are just a game.
We must put a stop to this
once and for all!

Source: Yulia Reutova, “Victory will be ours! Komsomolka found out what the mobilized are talking about,” Komsomolskaya Pravda, 15 December 2022. Translated by the Russian Reader. Thanks to The Insider for the link.

Pobrecit:a:s

Impact of Discrimination on Integration of Emigrants From the Aggressor Country (with Ivetta Sergeeva)

Following the full-scale invasion of Ukraine in 2022, up to one million Russians fled their homeland, marking the most significant brain drain since the Soviet Union’s collapse. While some host countries view the highly educated and politically active migrants as an asset, integrating nationals of the aggressor state has presented challenges. Many migrants face institutional restrictions aimed at sanctioning Russia, alongside varied experiences of discrimination from local populations. This study delves into the effect of discrimination on the assimilation intentions of Russian migrants, focusing on language learning as a key indicator. Laitin’s model of identity building suggests that migrants’ willingness to assimilate depends on the perceived benefits, including acceptance by the host society. Following the model, Sergeeva assumes that discrimination signals to migrants that the host country’s society does not accept them, making learning the local language a less rational choice.

Utilizing a cross-sectional panel survey, the study establishes a link between discrimination and integration, differentiating between the effects of discrimination experienced from local citizens and local institutions on language acquisition. Findings reveal that societal discrimination significantly dampens migrants’ willingness to learn local languages and diminishes their trust in and attachment to host societies, unlike institutional discrimination, which shows no such effect on language learning. These insights contribute to an understanding of the impact of nationality-based discrimination, highlighting the role of societal acceptance in the successful integration of political migrants.

This event will be hosted in person and virtually on Zoom. Register for the Zoom meeting here. Non-NYU affiliates must RSVP for in-person campus access. 

Ivetta Sergeeva is a PhD candidate at the European University Institute in Florence. She specializes in political behavior, civil society, and Russian emigration. She is a co-founder and co-principal investigator of OutRush and ViolenceMonitor (a series of surveys on intimate partner violence in Russia). She also has eight years of experience supervising projects in civil society and human rights organizations in Russia. Website: www.ivettasergeeva.com. Email: ivetta.sergeeva@eui.eu.

Date: 29 April 2024 4:00 PM – 5:30 PM

Speaker: Ivetta Sergeeva

Location: Jordan Center, 19 University Place, New York

Source: Jordan Center for the Advanced Study of Russia (NYU)


Polina Kanis

Professoressa on the Pole

Thu 25 April — Sun 05 May

Professoressa on the Pole* is the result of Polina Kanis’ investigation into the perceptual transformation of the female body in Russia following the onset of the full-scale invasion of Ukraine and subsequent ideological shift within Russian society. As part of this investigation the artist trained as a pole dancer and worked at a strip club.

The exhibit includes photographs documenting Kanis’ three-month stint at a strip club, the club’s rules of conduct for strippers, and a video re-enactment of the artist’s stage performance. The project marks the latest chapter in Kanis’ ongoing research into the changing role of a female teacher in Soviet and post-Soviet Russia, where limitations imposed by the state can only be counter-balanced by imagination.

*Professoressa (Italian: female teacher) refers to the 1967 manifesto Letter to a Teacher (Letters a una Professoressa), which harshly criticizes the power structure and classism of the educational system in 1960s Italy.

location: Expo

price: €5, tickets for a performance of the CARTA ’24 festival give free admission

duration: 5h 

extra info: wed – sun: 14:00 – 19:00, evening performances until 22:00

language: English

is part of: Festival CARTA

Source: De Singel (Belgium)


Nadya Tolokonnikova / Pussy Riot
RAGE
June 21–October 20, 2024

Putin’s Ashes, 2022. © Pussy Riot

Opening: June 20, 7pm

OK Linz
OK-Platz 1
4020 Linz
Austria

www.ooekultur.at
Instagram / Facebook / TikTok

Nadya Tolokonnikova, an artist who is founder of the feminist collective Pussy Riot, has long been persecuted in Russia for her conceptual performances and artistic protest against the Putin regime. Her performance Punk Prayer in the Christ the Savior Cathedral in Moscow, recognized by The Guardian as one of the most important artworks of the twenty-first century, ended for her and her colleagues with imprisonment for “hooliganism motivated by religious hatred.”

OK LINZ is bringing Nadya Tolokonnikova’s art to the museum, presenting her haunting works dealing with resistance, repression, and patriarchy for the first time to the European public.

Tolokonnikova’s oeuvre encompasses objects, installations, and performative works in which she processes her traumatic experiences during her life under Putin. Out of a state of repression, she has developed a visual language that rebels against aesthetical and political realities: anarchic and radical, yet also moving and witty.

“Being from Russia brings me pain. Most of my life, even after 2 years imprisonment following my art protest, I chose to stay in Russia, even though I had plenty of opportunities to immigrate, I tried to change Russia, make it a country that I would be proud of—peaceful, prosperous, friendly, democratic, loving, a country that values human life, art and happiness. First with Voina Group, later with Pussy Riot, I’ve been in performance art since 2007, for 17 long years—years filled with joy of protest and comradery, harassment, arrests. I watched my friends being murdered and revolutions suffocating under Putin’s boot.“ —Nadya Tolokonnikova

An oversized blade hangs like a sword of Damocles over visitors to the OK. “Shiv” is the title, American prison slang for an improvised knife. It stands for the precarious situation of artists and activists in Russia who, like Tolokonnikova herself, live in constant fear of persecution by the Russian judiciary. The exhibition will spotlight a selection of Situatioinist actions by Pussy Riot. At the center is Tolokonnikova’s 2022 performance Putin’s Ashes in which she joined forces with twelve women from Ukraine, Belarus, and Russia who experienced repression and aggression at the hands of the Russian president to burn a portrait of Vladimir Putin in a desert, collecting the ashes in small bottles.

“This art is a weapon,” says Tolokonnikova of her works, analyzing and exploring in this way the role that her art and she herself can play in the context of international power structures.

Curators: Michaela Seiser / Julia Staudach

Source: e-flux mailing list, 22 April 2024


Akhmatova’s Orphans 
International conference
Princeton University 
3-5 May 2024

May 3

4:00 pm–5:00 pm. Location: Firestone Library

The Anatoly Naiman Papers. Visit to the Special Collections

Presentation by Thomas Keenan-Dormany, Slavic Librarian

5:00 pm–6:30 pm. Location: McCosh 50

Rock. Paper. Scissors (2023)

Documentary film screening

Q&A with the co-author Anna Narinskaya

7:00 pm

Reception at the Levings’ residence (Shuttle provided)

May 4

Location for all talks: 245 East Pyne

9:30 am

Breakfast at East Pyne

Session 1

10:00 am–12:00 pm

Veniamin Gushchin, Columbia University

Late Akhmatova and Philology: Intertextuality, Interpretive Communities, and Effective History

Evgeny Soshkin, Free University / Brīvā Universitāte (Latvia)

Akhmatova’s Dead Orphans: Toward the History of a Paradox

Gleb Morev, Independent researcher

Akhmatova and Brodsky

12:00 pm–1:00 pm

Lunch

1:00 pm–1:40 pm

Keynote speech

Roman Timenchik, The Hebrew University of Jerusalem / Princeton University

Akhmatova’s Orphans and the Literary Orbit of the 1960s

Session 2

2:00 pm–4:00 pm

Dmitry Bobyshev, University of Illinois Urbana-Champaign [via Zoom]

On the so-called ‘Akhmatova’s Orphans’

Emily Lygo, University of Exeter

Dmitry Bobyshev’s Poetry of the Turn of the Century

Marco Sabbatini, University of Pisa

“Out of the Magic Choir”: Viktor Krivulin and the Leningrad Underground Poetry on Akhmatova and her Orphans

4:00 pm–4:30 pm

Coffee break

4:30–5:50 pm

Sofia Guerra, Princeton University

Anatoly Naiman’s Translations from Giacomo Leopardi

Benjamin Musachio, Princeton University

Estrada as a Fault Line: Akhmatova and Company vs. Evtushenko

6:00 pm–7:30 pm

Location: East Pyne 010

Akhmatova’s Orphans. Disassembly (2024)

Documentary film screening

Q&A with the director Yuri Leving

7:30 pm

Dinner

May 5

Location for all talks: 245 East Pyne

9:30 am

Breakfast at East Pyne

Session 1

10:00 am–12:00 pm

Maya Kucherskaya, Jordan Center, New York

Solo in a ‘Magic Choir’: The Case of Joseph Brodsky

Michael Meylac, Strasbourg University [via Zoom]

An Enchanting (!) Chorus (?): Different Poets of Dissimilar Fortunes

Alexander Dolinin, University of Wisconsin-Madison

Brodsky’s Poem “Darling, I left the house today…” in the Context of Poetic Tradition

12–1 pm

Lunch

1:00 pm–1:40 pm

Leningrad Poetic Circles of the 1960s Through the Camera Viewfinder

Roundtable devoted to photography of Boris Shwartzman, Mikhail Lemkhin and Lev Poliakov

Session 2

2:00 pm–4:00 pm

Polina Barskova, Berkeley University [sic!]

Depiction of Links and Ruptures of Time in Evgeny Rein’s Poetry

Oleg Lekmanov, Princeton University

On Evgeny Rein’s Poem “In the Pavlovsky Park”

Anna Narinskaya, Independent researcher, Berlin

The Orphans and Jews

4:00 pm–4:30 pm

Coffee break

Session 3

4:30 pm–6:45 pm

Translating Poetry of “Akhmatova’s Orphans” into English

An Open Workshop: Kathleen Mitchell-Fox, Emma George and Ilya Kaminsky, Princeton University

Lev Oborin, Berkeley University

Anatoly Naiman’s “Vegetation”: Towards Poetology of Branching

Maria Rubins, University College London

Is Brodsky a Poet for Our Time?

6:45 pm

Dinner

Organizing Committee:

Yuri Leving, Chair

Ekaterina Pravilova, Ilya Vinitsky and Michael Wachtel

Sponsored by REEES, PIIRS, and Department of Slavic Languages and Literatures, Princeton University

Source: Department of Slavic Languages and Literatures, Princeton University. Thanks to the Fabulous AM for the heads-up.

“Across the River They’re Making Chocolate”: Vsevolod Korolev’s Closing Statement in Court

<Vsevolod Korolev

During his closing statement in court today the documentary filmmaker Vsevolod Korolev read a poem by Grigori Dashevsky:

1.

Across the river they’re making chocolate.

Out there the river-ice is breaking up.

And upriver we’re waiting, but for now

no bus comes, only its vacant ghost,

a desolate fleshless light flying ahead

to the engine’s howl

and the clatter of

the ad-slates changing.

We’re not cold, we bide our time.

The sky a deeper blue, the burning streetlights.

 

2.

To wait for each new minute as for a ghost,

to put on stage-paint for him alone,

to powder your face with light––and poorly it sticks,

but without it there’s nothing

to tell you apart: not from the many

faces—multitudes—

but from the lived-through years

which, like a star, are distant and weightless as smoke.

 

3.

But from the sweet smoke, the glory of heaven,

look up for a moment,

tear your eyes away
as from a book:

As much as a star has its shining

or a factory its smoke,

all things have

their limit: a book’s gilded edges

or a band of cloud.

 

4.

And turned from weddings not my own, and graves,

not waiting for the end, I rose

and saw an enormous room, a hall,

walls, walls, Moscow, and I asked:

where is the light that lit these pages,

where is the wind that rustled them like leaves?

 

5.

It’s late to be asking: each person is lit bright,

thrown open to the right dream

for the minutes, like pupils widened,

unscathed, like smoke or sleep:

they fly in, gleam, collect a promise:

Remember, remember (take leave of) me.

 

“I don’t intend to speak for very long. Your Honor, I am in some sense a colleague of yours, since I’ve worked as a third-tier soccer referee; I understand that you’re in a tough situation, it’s hard to envy someone stuck in the middle of this whole business. But nevertheless I have always believed in people and will continue to do so, even when it makes absolutely no sense. In any case I know this is really hard for you, but I think you’ll figure it out.” (Vsevolod Korolev)

“To ask for ten years when the maximum is ten and given the absence of aggravating circumstances and the evidence of mitigating ones—this goes against the fundamental norms of the criminal code. And this demonstrates for the umpteenth time the invalidity and baselessness of the prosecution’s case.” ([Korolev’s defense] lawyer Maria Zyrianova)

Source: Irina Kravtsova (Facebook), 18 March 2024. Translated by the Fabulous AM. Grigori Dashevsky, “Across the river they’re making chocolate,” trans. Ainsley Morse and Timmy Straw, The Hopkins Review 16.2 (Spring 2023): 18–19. Translation © 2023 Ainsley Morse and Timmy Straw, reproduced here courtesy of the translators.


Discourse journalist and documentary filmmaker Vsevolod Korolev has been sentenced to a three-year prison term on charges of “disseminating fake news” about the army.

During the trial on March 18 defense lawyer Maria Zyrianova noted that the case file did not indicate what information in Korolev’s posts had been determined to be knowingly false. Korolev is accused of making two posts on [the Russian social media network] Vkontakte about the mass murders of civilians in the Ukrainian cities of Bucha and Borodianka, as well as about the shelling of Donetsk.

The prosecution requested a nine-year prison sentence for Korolev. This, noted Discourse, was the longest prison term ever requested by state prosecutors for the charge of disseminating “fake news” about the Russian army.

During the court hearing on March 20, bailiffs at St. Petersburg’s Vyborg District Court recorded the names of those who came to support Korolev, SOTA reports. Earlier, SOTA published a recording of a telephone conversation between the bailiffs, in which they announced their intention to provide the lists of those who came to the trial to Center “E” [the “counter-extremism” police].

The Case of Vsevolod Korolev

  • Vsevolod Korolev is a documentary filmmaker and poet. He worked as a correspondent for the culture magazine Discourse and made films on social themes — about children with disabilities and political prisoners.
  • Korolev was detained in July 2022. During the search, his electronic devices were confiscated.
  • The prosecutors argued that Korolev’s documentaries about the political prisoners Maria Ponomarenko and Alexandra Skochilenko should be deemed an aggravating circumstance.
  • Linguistic expertise in the case was provided by linguist Alla Teplyashina and political scientist Olga Safonova from the Center for Expertise at St. Petersburg State University.
  • One of the prosecution’s witnesses later recanted their testimony.
  • In his closing statement at the trial, Korolev quoted a poem by Grigori Dashevsky: “It’s late to be asking: each person is lit bright, / thrown open to the right dream / for the minutes, like pupils widened, / unscathed, like smoke or sleep: / they fly in, gleam, collect a promise: / Remember, remember (take leave of) me.
  • Memorial has designated Korolev a political prisoner.

You can support Vsevolod Korolev by sending him a letter to the following address:

196655 St. Petersburg, Kolpino, Kolpinskaya Street, 9, FKU SIZO-1, Vsevolod Anatolyevich Korolev (born 1987)

You can also use the service FSIN-Pismo.

Source: Discourse journalist Vsevolod Korolev sentenced to three years for ‘fakes’ about the army,” DOXA, 20 March 2024. Translated by the Fabulous AM and the Russian Reader. People living outside of Russia will find it difficult or impossible to send letters to Russian prisons via regular mail or using online prison correspondence services such as FSIN-Pismo. In many cases, however, you can send letters (which must be written in Russian or translated into Russian) to Russian political prisoners via the free, volunteer-run service RosUznik. You can also write to me (avvakum@pm.me) for assistance and advice in sending such letters.||| TRR

Ode on Slate

OSIP MANDELSTAM ||||| ODE ON SLATE

 

Only by ear will we grasp

What scratched and grappled there,

Star with star mightily conjoined,

The old song’s flinty path,

Tongue of air, and tongue of flint,

Horseshoe with ring, water with flint.

The milky sketch in slate

On the clouds’ soft shale

Is no novitiate of worlds

But the delirium of drowsing sheep.

 

We stand asleep in the thick night

Beneath a warm woollen cap.

The spring babbles back to the thickets

A chainlet, a warbler, a spiel.

Fear writes here, here writes the fault line

With a milky stick of lead,

Here mellows the draft

Penned by flowing water’s disciples.

 

Steep towns of goats,

Mighty stratum of flint.

And there’s yet another ridge:

Ovine villages and churches!

The plumb line preaches to them,

Water schools them, time whets them,

And they’ve long since had their fill

Of the air’s transparent woods.

 

Like a hornet dead outside a hive,

The motley day is swept out in disgrace.

And night the vulture bears

Burning chalk and feeds the slate.

To erase the day’s impressions

From the iconoclastic icon

And brush from the arm like a chick

Visions already transparent!

 

The fruit was bursting, the grapes grew ripe.

The day raged as rage it does.

And a gentle game of knucklebones,

And vicious sheepdogs’ coats at noon.

Like debris from icy heights,

The seamy side of green icons,

The hungry water flows,

Winding, frisking like a cub.

 

And like a spider it crawls over me,

Where every joint is spattered by the moon,

In the stupefied heights

I hear the screeching of slate.

I break the night, the burning chalk,

To make a solid record of the instant.

I swap noise for the song of arrows,

I swap formation for an angry bustard.

 

Who am I? Not a righteous mason,

Nor a roofer, nor a shipwright.

I am a double dealer, and my soul is deceitful,

I’m a friend of the night, the day’s ramrod.

Blessed is he who dubbed flint

Flowing water’s disciple.

Blessed is he who cinched a belt

To solid ground on the sole of the mountains.

 

And now I’m perusing the logs

Of the leaden summer’s scratches,

Tongue of air, and tongue of flint,

Seam of darkness, seam of light.

And I want to poke my fingers

In the old song’s flinty path

As into a sore, joining

Flint with water, horseshoe with ring.

 

Source: mandelshtam.let-info.ru. Translated by the Russian Reader


 

Led Zeppelin, “Poor Tom” (1970; released, 1982)

Here’s a tale of Tom
Who worked the railroads long
His wife would cook his meal
As he would change the wheel

Poor Tomseventh son
Always knew what was going on
Ain’t nothing that you can hide from Tom
Ain’t nothing that you can hide from Tom

Worked for thirty years
Sharing hopes and fears
Dreaming of the day
He could turn and say

Poor Tom, work is done
Been lazing out in the noonday sun
Ain’t nothing that you can hide from Tom
Ain’t nothing that you can hide from Tom

His wife was Annie Mae
With any man a game she would play
When Tom was out of town
She couldn’t keep her dresses down

Poor Tom, seventh son
Always knew what was going on
Ain’t nothing that you can hide from Tom
Ain’t nothing that you can hide from Tom

And so it was one day
People got to Annie Mae
Tom stood, a gun in his hand
And stopped her running around

Poor Tom, seventh son
Gotta die for what you have done
All those years of work are thrown away
To ease your mind is that all you can say?

But what about that grandson on your knee?
Them railroad songs, Tom would sing to me
Ain’t nothing that you can hide from Tom
Ain’t nothing that you can hide from Tom
Ain’t nothing that you can hide from Tom
Ain’t nothing that you can hide from Tom
Hey
Keep-a truckin’
Keep-a truckin’
Hey

To the Children of Leningrad in the Year 2024

Kornei Chukovsky’s poem “To the Children of Leningrad” (1944), as published in the children’s magazine Murzilka in 1945. Source: dinasovkova (LiveJournal)

 

Kornei Chukovsky
To the Children of Leningrad

The years will speed past you,
Year after year after year,
And you’ll become old women and men.

Now you are towheaded,
Now you are young,
But then you shall be bald
And grey.

And even little Tatka
Shall someday have grandkids,
And Tatka will put on big glasses
And knit mittens for her grandchildren.

And even two-year-old Petya
Will someday be seventy years old,
And all the children, all the children in the world
Will call him “old man.”

And his grey beard will
Hang down to his waist.

Now, when you’re old women and men,
Wearing those big glasses,
To stretch your old bones
You’ll go on an outing.
(You’ll pick up your grandson Nikolka, say,
And take him to a New Year’s party.)

Or, in that very same year, two thousand twenty-four,
You’ll sit on a bench in the Summer Garden.
Or not in the Summer Garden, but in some little square
In New Zealand or America.
It will be the same everywhere, wherever you go —
Prague, The Hague, Paris, Chicago, Krakow.
The residents will silently point at you
And quietly, respectfully say:

“They were in Leningrad during the Blockade,
Back in those days, you know, in the years of the Siege.”

And they’ll doff their hats to you.

1944

Translated by the Russian Reader. Thanks to Alexander Voitsekhovsky and Svetlana Voskoboinikova for the heads-up.


Actor Alexander Sushchik recites Kornei Chukovsky’s “To the Children of Leningrad”


Few people in Russia see the March 2024 presidential election as a real opportunity to change the country’s leadership. Voting in Russian elections has not been free and fair in recent times, and since the invasion Ukraine, the Russian regime has tightened the screws dramatically. There is no freedom of speech, people are persecuted for making anti-war statements, many opposition leaders and activists are in prison, and hundreds of thousands of people have fled Russia.

In January [2024], however, thousands of people unexpectedly showed up to sign petitions supporting the presidential candidacy of Boris Nadezhdin, a former State Duma deputy who entered politics in the 1990s. Nadezhdin is running under the slogan “End the special military operation.” Many people view endorsing Nadezhdin as a legal opportunity to voice their anti-war sentiments. Standing in long queues at signature collection points, people said they had come to see other people who thought like they did and voiced hope for change.

Their conversations are featured in Nadezhdin’s Queue, a film in Radio Svoboda’s documentary project “Signs of Life.”

Source: “Nadezhdin’s Queue,” Signs of Life (Radio Svoboda), YouTube, 27 January 2024 (in Russian). Thanks to Comrade Koganzon for the heads-up. Annotation translated by the Russian Reader