Toronto Slavic Annual No 1, 2003

Подождите немного. Документ загружается.

Кто они эти люди в черных плащах?

279

Апреля колдовство!

На ней манто атласное

(Весь заработок мой…)

На ней перчатки красные,

Пуховые с каймой,

На ней, как розы льдистые,

Горит песцовый мех…

4 Неслучайно «замалчивание» софроновского романа в стихах (онегин$

ской строфой) «В глубь времени» (1978), среди героев которого лю$

бовно выведен и тогдашний генсек.

5 О избирательность нашего глаза! (selectio oculi nostrum — сказал бы

Цицерон)

6 Еще раз хотим подчеркнуть, что мы имеем дело только с эстетически

относительно убедительными текстами.

7 Платон. Государство.

8 Это заставляет вспомнить чеховского персонажа с его «Ты идешь пока

врешь» и «Покорчило Вас благодарю».

9 С противоположных позиций об инфантилизме в современной поэзии

см. Илья Кукулин. Актуальный русский поэт как воскресшие Аленушка

и Иванушка // НЛО № 53; Данила Давыдов. Мрачный детский взгляд:

«переходная» оптика в современной русской поэзии // НЛО № 60.

10 Сейчас, на мой взгляд, все более ясно становится то, что это была дей$

ствительно оппозиционность, а не игра в нее, как ее третировали люди

Второй действительности. Но только в общем контексте духовной жиз$

ни того времени, а не с точки зрения людей, начавших создавать свое

параллельное общество и свою параллельную литературу.

11 Их анализу была посвящена наша статья в журнале «Новая русская кни$

га» 2000 № 4$5.

12 Прежде всего следует отметить монументальный цикл из шести ста$

тей Ильи Кукулина в «Новом литературном обозрении» № 50$55.

13 О в высшей степени убедительной для этого разговора поэзии Елены

Фанайловой мы уже писали в журнале «Новый мир» 2001 № 5.

14 Среди поэтов, творчество которых заслуживает рассмотрения, кроме

уже упомянутой Елены Фанайловой, назовем еще Александру Петрову

и Александра Анашевича.

EDITORS’ POSTSCRIPT

When we asked our authors to consider post)Soviet literature in the form of

overviews of prose, poetry and criticism we naturally anticipated some of the

problems they would confront. The most obvious of these was the quantity and

the variety of the “raw material” they would have to work with. Not only reduc

ing this to a common denominator but giving it some coherence by showing

the connections between events in the centre and those on the periphery is no

easy task. Surprisingly, however, the greatest difficulty was determining the

boundaries of the survey, defining just what is meant by the term “postSoviet.”

As it turned out, each author understood this term differently.

It was defined as literature disconnected from the authority of the state and its

ideological institutions (although it might have been useful here to examine how

the former connection to the state differs from the current one, since the journey

from the manuscript lying on the desk—or, in more contemporary terms, from

the lines on the computer screen—to an article or a book always involves, in es

sence, a connection or a “contract”). There is still a “social command”: the ques

tion is only whether this command comes in the name of society or from society

itself. It was defined by the simple criterion of the birth certificate, thus embrac

ing only those works that could not have been written in the Soviet period simply

because at that time their authors were still in high school (and naturally, the

question of whether something like that could have been published then never is

raised). It was defined by dividing the last fifteen years of Russian literature into

periods (something that is always more or less arbitrary), so as to set up a logical

structure to explain the content and interrelationships of works. And so on…

And yet the definition we first had in mind was rather simple and seemingly

obvious: the literature of the Soviet period was entirely a censored one. It was

something regulated by the censorship at all levels: ideology; plot (there were

“permitted” and “nonpermitted” conflicts); style (“the campaign against for

malism”); language (“the normative vocabulary”); genre (“the ban on tragedy”),

and so on. The hierarchy of censorship was arranged from bottom to top, from

the editor (and even from the “internal censor” that dwelt within the authors

who already knew what wouldn’t be “let through”) right to the Politburo, that

both opened up and shut down journals and publishing houses. Post)Soviet

literature, then, is that which came to readers after the lifting of censorship.

Editors’ Postscript

281

The differing conceptions just mentioned suggest that literary historians need

to think about this term and try to agree on its meaning so as to avoid misun

derstandings. This problem is most obvious, perhaps, in the survey by Sergei

Zavialov, who chose his authors strictly by age, conceding the arbitrariness of

such an approach and the fact that it would inevitably produce an incomplete

picture. What remains outside his picture are, first, those works that could not

appear in print because of the censorship and so became literary facts at the

end of the 80s and beginning of the 90s when they were read for the first time,

i.e., at the same time as other works that were then being written or published.

Second, there are no precise boundaries between generations, and after the end

of censorship poets whom the reader had known earlier (and sometimes much

earlier, such as Lipkin, Chukhontsev, Lisnianskaia, Morits, Rein, Sokolov, Kushn

er, etc.) continued to write and publish. And third, the narrow focus of the

critic did not take in those poets who began publishing in Russia right at the

end of the 1980s—e.g., Gandlevsky, Kibirov, Strochkov, to say nothing of the

emigres. In narrowing his range the critic has become hostage to his own selec

tion of poets. Much of what he cites relates to the genre that Adamovich once

called “the human document” (as distinct from an aesthetic phenomenon). One

can see what the authors referred to are writing but cannot see how they are

doing it. In other words, the conversation is limited to ethics (the condition of

writing without censorship, sometimes understood as the absence of censorship),

but he does not enter into poetics.

Of course, such a view is entirely legitimate, even if only because it leads one

to look quite differently at what is going on.

It’s interesting to note that something very similar was occurring a century

earlier. Critics were not prepared to examine what was happening here and

now, and so poets took on the job: had it not been for Briusov, Gumilev, Bely,

Khodasevich, Voloshin and Vyach. Ivanov our present picture of the poetry of

the Silver Age would likely be far less clear than it is. That came to mind thanks

to Chuprinin’s passing remark about poets and prose writers who indulge them

selves in writing criticism. Most often such “indulgence” comes not from the

good life but because these writers were dissatisfied by the critics’ understand)

ing of the literature that they, the writers, were creating. And so they were

compelled to eliminate the middleman, so to say. Writer’s criticism is, perhaps,

a much stronger presence within the Russian tradition than in any other Euro

pean literature. Indeed, the “journalistic principle” of Russian literature stems

mainly from writereditors like Karamzin, Pushkin, Nekrasov, Shchedrin, and

later, from Briusov, Gorky, Averchenko, etc. Toward the end of the Soviet period

and immediately thereafter it was mainly critics who edited journals: in this

regard Novy mir, Znamia, Zvezda, etc. followed the example of Inostrannaia

literatura, Literaturnaia ucheba, as well as journals like Voprosy literary and

Literaturnoe obozrenie that were essentially devoted to criticism. It’s also sig

282

Editors’ Postscript

nificant that writers don’t enter the Academy of Letters… In short, it was pre

cisely the critics who had the opportunity to shape the reader’s view of litera

ture; one might say that they kept the genie of literature in his bottle, and when

he suddenly broke out they were amazed at his wilfulness and even were a bit

offended, it seems…

As we see, the cycle of surveys commissioned by the editors does not so much

answer questions about the state of contemporary Russian literature as pose

new questions and provoke readers to think about it. And that was our aim…

Leszek Czubik

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Voloshin, Maksimilian. Stikhotvoreniia, Stat’i, Vospominaniia Sovremennikov. Ed.

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Lubomir Dolezel*

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Louis Iribarne*

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Christina Kramer

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Kenneth Lantz

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Ralph Lindheim

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from 1710 to 1995. Ed. Ralph Lindheim and George S. N. Luckyj. Toronto:

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Leonid Livak

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George Luckyj‡

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Before the Storm : Soviet Ukrainian Fiction of the 1920s. Ed. George Luckyj.

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Critical Articles and Essays on Panteleimon Kulish. Extracted and photocopied

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Discordant Voices: The Non)Russian Soviet Literatures, 1953)1973. Ed. George

S. N. Luckyj. Oakville, ON: Mosaic, 1975.

Four Ukrainian Poets: Drach, Korotych, Kostenko, Symonenko. Trans. Martha

BohachevskyChomiak and Danylo S. Struk. Ed. and introd. George S. N.

Luckyj. Toronto: Quixote, 1969.

Khvylovyi, Mykola. Stories from the Ukraine. Trans. and introd. George S. N.

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Kulish, Panteleimon. The Black Council. Trans. and abr. George S. N. and Moira

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Kulish, Panteleimon Oleksandrovych. Vybrani Lysty Panteleimona Kulisha

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