Dissonant Voices in Soviet Literature by Boris Pasternak, Isaac Babel, Alexander Grin, Mikhail

By Boris Pasternak, Isaac Babel, Alexander Grin, Mikhail Zoshchenko, Boris Pilnyak, Sergei Esenin, Ilya Ehrenburg, Ivan Kharabarov, Max Hayward, Patricia Blake, Evgeni Zamyatin, Vladimir Polyakov, Lev Kassil, Julia Neiman, Nikolai Chukovsky, Yuri Kazakov, Vl

That's right.

Introduction through Max Hayward, vii
Without Love, 3
On Literature, Revolution, and Entropy,
Form and fabric in artwork, 20
Soviet Russia, 29
Reminiscences of Babel, 33
The trip, 52
The Making of Asper, 62
M.Ts., 71
Mahogany, 74
Before dawn, 108
Fireman ProMiorchuk or the tale of a narrative, 132
The story of the 3 grasp Craftsmen, 137
1941, 156
The Tramp, 158
Untrodden direction, 185
The Outsider, 188
Three, Seven, Ace, 205
People, Years, and existence, 236
Babi-Yar, 260
This Is Moscow conversing, 262

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Extra info for Dissonant Voices in Soviet Literature

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The most likely explanation is that the Party wishes to restore some balance between the two camps which now for the first time since the twenties almost openly exist among Soviet writers. ” The progressives, now overwhelm­ ingly strong in numbers, are, it is no doubt considered, best kept in check by having the threat of total reaction always hanging over them. This is a better and more intelligent way of imposing restraint on them than by gross administrative interference. If anybody should doubt that there are indeed “two camps” among Soviet writers ( and this is insistently denied by Soviet publicists), then he has only to read the speeches of Alex­ ander Tvardovsky, and Vsevolod Kochetov, at the Twenty10 Just before his death Panferov completed a novel, In the Name of the Young, which was attacked for its near-pornographical elements.

Smirnov was dismissed as the editor of Literary Gazette and replaced by his deputy, V. A. Kosolapov. 10 It is unlikely that the re-emergence of Kochetov, which could scarcely have happened without strong official support, is a sign of some impending regression in Soviet literature. The most likely explanation is that the Party wishes to restore some balance between the two camps which now for the first time since the twenties almost openly exist among Soviet writers. ” The progressives, now overwhelm­ ingly strong in numbers, are, it is no doubt considered, best kept in check by having the threat of total reaction always hanging over them.

There is a new style in prose of almost Chekhovian objectivity, and the once obligatory distortion of Soviet reality, with the presentation of shortcomings in human na­ ture as transitory “survivals of capitalism” untypical of Soviet society, is much less common than it was. The extent to which some Soviet writers would certainly go in dismantling the literary and political orthodoxies of the past, if all barriers to free publication were removed, is indicated by the “clan­ destine” tale of the writer who calls himself Nikolai Arzak.

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