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Russian Thought Lecture 1: Petr Chaadaev and the Russian Question

Readings: Petr Chaadaev, “First Philosophical Letter” and “Apologia of a Madman”

Before we get on to Chaadaev, the first question we must address is why he acts as the starting point for our exploration of Russian intellectual history. Chaadaev did not invent Russian philosophy; there was already a significant tradition of philosophical and polemical writing in Russia that developed during the eighteenth century, mainly as a result of Peter the Great’s Westernizing reforms. Alongside advances in science, questions about what “Russia” and “Russian” meant contributed to the development of a number of areas of study. In very broad terms, probably the most significant moments here are the work of Mikhail Lomonosov (1711-1765) to codify the Russian literary language, and that of Vasilii Trediakovsky (1703-1768) on Russian versification. In the reign of Catherine the Great, and under the influence of Enlightenment thinkers such as Rousseau and Voltaire, questions about the nature and rights of man gained a specifically Russian slant in debates about serfdom and autocracy. One of the greatest critics of the Russian system of governance in this period was Aleksandr Radishchev (1749-1802), who was arrested and exiled to Siberia for denouncing serfdom in his 1790 work A Journey from St Petersburg to Moscow. At the opposite pole was the conservative writer Nikolai Karamzin (1766-1826), most famous for his twelve-volume History of the Russian State, who was a vehement apologist for Russian autocracy. Critical views of Europe were also developing during this period, the most famous and elegant being Letters from France (1778) by Denis Fonvizin (1744/5-1792).

Despite this background of debate and reflection on Russian questions and comparisons with Europe, there are good reasons for starting our course with the next generation, and specifically with Petr Chaadaev (1794-1856). This is not simply because his represented one of the first systematic attempts to develop a broader philosophical system within which to contextualize ideas of what Russia and being Russian meant, but also because of the context in which his work appeared. Beginning his writing in the late 1820s, in the aftermath of the failed Decembrist revolt of 1825, and in the early years of Nicholas I’s reign, which saw a crackdown on political activity outside the government, Chaadaev’s work articulated crucial questions about Russia’s position and destiny that resonated within the growing sense of crisis and impotence being experienced Russia’s educated elite. In addition to the political situation in Russia, it tapped into wider philosophical concerns about “nation,” with Romantic Nationalism developing towards the end of the eighteenth century, primarily within German philosophy, including Herder’s idea that a people’s society and culture were influenced by their environment, and Hegel’s notion of the “zeitgeist,” or spirit of the age that was to be found at a particular time in a particular people, enabling them to become an active historical force. Alongside other aspects of European philosophy that were much under discussion, particularly amongst young educated Russians at the time, these ideas formed the backdrop to both Chaadaev’s questioning (and criticism) of Russia’s role, and the response it received.

This, then, was the point when Russian thought gained its specific character in relation to the theme of Russian identity, as Aizlewood has suggested (p. 21-2), and it set the terms of the debate for the next twenty or thirty years, and this relates to another aspect of the context that I think is equally significant: the development of Russian literature. I don’t think it’s a coincidence that Chaadaev was writing at the same time as Pushkin – the two were friends – or that the main tenets of Russian thought were consolidated in the period when Russian literature was finding its true voice. The inter-relationship between Russian thought and literature is important, because in the absence of other forums for political debate, literature and literary criticism played a major role in enabling that debate to continue, sometimes openly and sometimes in coded form. This is the era of philosophical discussion circles, where people from different intellectual backgrounds would meet to debate the latest developments in and understandings of European philosophy, and its applicability to Russia. And it is also the heyday of so-called “fat journals,” where the latest works of fiction and poetry were published alongside literary criticism, and articles ranging from history and philosophy to the natural sciences. So there is no straightforward dividing line between Russian literature and thought, and this is why, looking ahead, we will be examining novelists such as Dostoevsky and Tolstoy, and critics such as Belinsky, on this course. In the first period we are addressing, a crucial connection can be found in the figure of the “superfluous man,” depicted and discussed in so much literature and criticism; his inability to act and lack of outlet for his talents is in effect one of the results of the dilemma Chaadaev expresses.

Petr Chaadaev, 1794-1856

So who was Petr Chaadaev? He was born in Moscow in 1794 to a noble family, educated at Moscow University but left to join the army and fought in the Napoleonic war of 1812. His friends at both university and in the army included future Decembrists, and as I said he was also a friend of Pushkin’s. He was considered one of the great Russian liberals of the 1820s, and was greatly admired; in 1818 Pushkin addressed the first of four poems to Chaadaev, which I think indicates his admiration for his friend, as well as the ideals they shared: a love of liberty and a notion of duty to Russia, but also a sense of defiance and of the tensions inherent in holding these ideals:

К Чаадаеву
Любви, надежды, тихой славы
Недолго нежил нас обман,
Исчезли юные забавы,
Как сон, как утренний туман;
Но в нас горит еще желанье,
Под гнетом власти роковой
Нетерпеливою душой
Отчизны внемлем призыванье.
Мы ждем с томленьем упованья
Минуты вольности святой,
Как ждет любовник молодой
Минуты верного свиданья.
Пока свободою горим,
Пока сердца для чести живы,
Мой друг, отчизне посвятим
Души прекрасные порывы!
Товарищ, верь: взойдет она,
Звезда пленительного счастья,
Россия вспрянет ото сна,
И на обломках самовластья
Напишут наши имена!

Translations into English are available by Andrey Kneller and A. N. Matyanina.

In 1821 Chaadaev unexpectedly gave up his position in the army in favour of a more contemplative and scholarly life. He spent three years in Europe and was in fact abroad at the time of the failed revolt of 1825, but when he returned in 1826 he was briefly arrested because he knew many of the leading Decembrist figures.

Chaadaev’s time in Europe consolidated his growing religious sensibility, but also confirmed his leanings towards the Roman Catholic church, although he remained within the Orthodox church and never converted to Catholicism (and was very upset by accusations that he was a Catholic). There is nevertheless distinct Catholic influence in his work, mainly coming from the French traditionalists such as Joseph de Maistre and Chateaubriand, and an appreciation of the Catholic church which marks him out from many subsequent Russian thinkers. At the same time, there is also evidence of his engagement with German philosophy, notably Kant (whose concept of reason he reacted against), Schelling (with whom he had considerable sympathy and conducted a correspondence) and Hegel (Dobieszewski classifies Chaadaev as a Hegelian thinker in his conception of history as progress towards the ideal, pp. 28-31).

His main work was his “Philosophical Letters,” written between 1827 and 1831. Philosophical Letters as a genre were often used as a construct to convey new experiences or knowledge or to challenge received ideas (as we see in the use of the form by Voltaire and Montesquieu), and Chaadaev is therefore suggesting that he is seeing Russia with new eyes and rejecting existing interpretations of its current status. Like most Philosophical Letters they were addressed to a specific person, Mme Ekaterina Panova, in response to her request for spiritual guidance. But she never received them, and they were in fact open letters, the public and general in the guise of the private and particular. Some of the letters were circulating in manuscript form from around 1830, and Chaadaev read some of them to friends. Following a mistake by the censorship (neither the first nor the last time this happens in the history of Russian literature and thought), the First Philosophical Letter was published in 1836 in the journal Teleskop. It was immediately declared dangerous to public order, and the editor of the journal, Nikolai Nadezhdin, was exiled to Siberia, while the censor who passed it was dismissed. Chaadaev himself was declared insane and placed under house arrest. He had nothing else published in his lifetime. (The Philosophical Letters and his “Apologia of a Madman,” which he wrote after these events, were published in Paris in 1862.) But the impact of the First Letter was enormous; copies were circulated privately and sold under the counter, and the general view at the time in educated circles was that if something was worth suppressing, it must be worth reading. Alexander Herzen (one of the writers we will be studying later this term) described it as:

a shot that rang out in the dark night; whether it was something foundering that proclaimed its own wreck, whether it was a signal, a cry for help, whether it was news of the dawn or news that there would not be one—it was all the same: one had to wake up. (Herzen, vol. 2, p. 261).

The First Philosophical Letter is paradoxical in its importance for the development of Russian intellectual culture, because its main point is the denial that there is any value whatsoever to be found in Russian culture or history – and it was the crisis implied by this denial that created the impact the letter had. But rather than simply outline Chaadaev’s argument about Russia’s backwardness from the First Letter – we will discuss that in detail in next week’s seminar – I want instead to examine the philosophical background that he used to develop this perspective throughout the series of eight letters (the clearest explanation of which can be found in Walicki, pp. 81-91), as it amounted, as Dobieszewski states (p. 31), to a coherent theory rather than a collection of observations and criticisms, which is not so apparent if you just read the First Letter. In examining this background, I will also show how he relates to (and diverges from) subsequent trends in Russian thought, both about the Russian question and more broadly.

The first thing to note is that Chaadaev’s philosophy is deeply religious, and he was attempting to find a way of integrating philosophy – and the concept of reason it entails – with a thorough-going religion conception. This means that within his schema, everything comes from or is directed from above; as he states as an “absolute principle,” “human reason cannot prescribe a law for itself” (Letter V, p. 58). This is his rejection of Kantian autonomous individual reason – precisely because he believes it cannot be a source of morality – and it has a number of implications, most importantly for his view of the individual. Contrary to the ideals of the Enlightenment, Chaadaev did not see the striving for individual freedom as natural (Letter IV), and in fact he saw human beings as existing in a state of dependence. This meant that the individual has no meaning outside of the context of society, but this relationship is also part of a wider scheme of hierarchies of being that according to Chaadaev has four levels (Walicki, p. 83). At the top is God. The next level is the social sphere, which is seen as a type of collective consciousness (Letter VI, p. 72). The third level is the individual consciousness, by which Chaadaev means those people who are separated from of the wholeness of the social sphere; at this level there is no conception of collective responsibility and no possibility of communality. Finally at the bottom there is nature prior to man.

The crucial concept governing this schema, and the whole of Chaadaev’s thinking, is the universal, “an objective unity, completely outside the reality which we sense” (Letter V, p. 58 – this letter as a whole contains the most detailed examination of what he means by the universal). This is not identical to God, although God is evidently present in or accessible through the universalizing nature of the social sphere: this is where human activity is raised to a higher level, and in Chaadaev’s terms the complete society ultimately fuses with God (Walicki, p. 84). The most significant aspect of the universal for Chaadaev relates to knowledge. He states,

just as a certain plastic and perpetual work of the material elements or atoms, the generation of physical beings, constitutes material nature, so also then a similar work of intellectual elements or ideas, the generation of spirits, constitutes spiritual nature; and just as I conceive of all tangible matter as one whole, then I must also conceive of the succession of intelligences as a single and sole intelligence. (Letter V, pp. 60-1)

He describes this as the universal mind or intelligence, which is “nothing but the sum of all the ideas which live on in man’s memory.” (Letter V, pp. 61-2)

What precisely he means by universal intelligence is not always entirely clear; as Copleston states,

Sometimes Chaadaev writes in such a way as to imply that it is only moral ideas, and ideas of spiritual reality, which were originally communicated by God and transmitted by tradition, and that he is not referring to the universal ideas of natural science. Other statements, however, seem to imply that the so-called “universal intelligence” is the locus of all universal ideas. (Copleston, p. 34)

It is worth noting that universal intelligence includes not only ideas in the intellectual sense, but also, for example, emotional memory:

There are also many ideas which have never been announced before public meetings, have never been sung by rhapsodists, have never been marked either on columns or on parchments; the dates of their appearance have never been ascertained by calculation or by the course of the stars, criticism has never weighed them on its partial balance, but an unknown hand puts them into the interior of souls; the first smile of the mother, the first caress of the father, communicates them to the heart of the newborn. These are the powerful recollections in which the experience of the ages is concentrated: each individual receives them with the air which he breathes. In this milieu, then, all the works of intelligence are completed. (Letter V, p. 62)

It is this universal intelligence, that has its source in memory and in particular collective memory, therefore that raises mankind above the state of being animals, in terms of the development of both reason and spirt, and it is this, therefore, that enables knowledge, for example, of good and evil, and what constitutes justice, so it underlies our moral capabilities as well. And it also plays a crucial role in underpinning Chaadaev’s attitude towards other aspects of his philosophy. History is important because the universal intelligence evolves over time – through the historical process (on this question see in particular Letter VII). This is why Russia’s apparent lack of a history – the absence he perceives of any sense of natural development over time – becomes such a significant factor in forming his critique in the First Philosophical Letter: without a history, no collective consciousness can develop (and vice versa). If, as Chaadaev suggests, it is the mission of both individuals and nations to move towards the universal (Walicki, p. 85), then Europe represents the paradigm of collective consciousness and the development that enables, while Russia, in contrast, is in a parlous condition because it is deprived of that development.

And this also relates to the implications of the universal intelligence for the form religion takes. Downplaying the individual means that the sort of personal self-perfection we will see later in Tolstoi’s thinking has little significance in Chaadaev’s philosophy. Instead, because of the greater significance he ascribes to the social sphere, the church itself is centralized, and, because of the primacy of shared knowledge, he gives an important role to the observance of its rituals and traditions, which discipline the soul (Walicki, p. 84), thereby allowing the individual to participate in the greater whole. But this is not an automatic function of any church; for Chaadaev it is precisely the Roman Catholic church that manifests this unifying mission, with the Papacy acting as a symbol of that unity.

The Orthodox church – Russian or otherwise – is not viewed as having a similar unifying structure. This is largely because of the separation of Orthodoxy from the universal church (a question I will discuss in more detail in my next lecture, on Slavophilism). But it is also because of the emphasis he places on knowledge; the theological tradition in the Catholic church played a major role in the development of philosophy in Europe, gradually branching out into other areas of learning. Theology is not completely absent from Orthodoxy, but it tends to go back to the early Church Fathers, and there is not the same continuous theological tradition (there is indeed an anti-theological side to Orthodoxy, which rejects any form of rationalization of faith). Thus within the Russian tradition itself there are obstacles to participation in knowledge and therefore higher unity. Therefore the Catholic church is in Chaadaev’s terms progressive, while Orthodoxy is regressive. And if this is true in the field of knowledge, then it equally impacts upon the actions he sees coming from the Orthodox church, as his denunciation of serfdom indicates:

What is this terrible ulcer [serfdom] which is destroying us? How does it happen that the most striking trait of Christian society is the very one which the Russian people renounced in the very bosom of Christianity? Why is the effect of this religion reversed in our land? I do not know, but it seems to me that this alone should cause us to doubt the orthodoxy which we boast about. […] You know that even the most stubborn sceptics admit that we are indebted to Christianity for the destruction of serfdom in Europe. […] you know that the clergy set an example everywhere, by freeing their own serfs, and that Roman Popes were the first to call for the destruction of slavery in the world subordinated to their spiritual authority. Then why did Christianity not have the same effects in our land? Why, on the contrary, did the Russian people fall into slavery only after having become Christian, namely in the reign of Godunov and Shuiskii? […] Can [the Orthodox church] explain why it did not raise its motherly voice against the repulsive violence committed by one part of the nation against the other? (Letter II, pp. 35-6)

The violence of serfdom can therefore be seen as the greatest example of the absence of unity in society, and this has been perpetuated by the Orthodox church, leaving people isolated from each other and without access to the social sphere. And this is perhaps the most unusual feature of Chaadaev’s thought. The idea of unity is, as we will see, a recurring theme – perhaps the recurring theme – in Russian thought; as the philosopher Mikhail Epstein has said,

If we try to single out the central trend of Russian philosophy that can be compared with those of “rationalism” in French philosophy or “empiricism” in English philosophy, this would be “totalism.” Such diverse Russian thinkers as Chaadaev and Belinsky, Ivan Kireevsky and Herzen, Vladimir Soloviev and Vasily Rozanov all put forward the category of “integrity,” “wholeness,” “totality” (tsel’nost’, tselostnost‘) or “total-unity” (vseedinstvo), which presupposes, first of all, the unity of knowledge and existence, of reason and faith, intellectual and social life. (Mikhail Epstein, “The Phoenix of Philosophy”)

The paradox of Chaadaev is that he combines this concept of wholeness with a Eurocentric view (Peterson, p. 550). Certainly among the thinkers who immediately followed Chaadaev, unity is a quality that is more usually ascribed to Russia. Likewise, the critique of individualism is something that we encounter frequently elsewhere in the Russian tradition, but thinkers who disagreed on practically everything else generally associated this with “the West” rather than Russia. So Chaadaev’s insistence in the First Letter (and beyond) that unity resides in Europe and individualism in Russia certainly marks him out from Slavophiles, despite their shared religious conception of history, and the Westernizers, despite their common belief that the West was a valid source of knowledge and values.

Nor, beyond his criticism of serfdom and concern for their material welfare, did Chaadaev exhibit the interest iN the narod (the peasantry) and the assumption of their spiritual value – or its communal nature – that came to dominate later schools of thought. When he talks about the social sphere and its fusion with God, he is not thinking of the masses, who merely follow paths that are laid down for them, but of a spiritual elite, who will bring a spiritual force into life, realizing the Kingdom of God on earth (Walicki, pp. 84-5; hence the epigraph to the First Letter, “Thy Kingdom come”). Again, this is very different from discussions of the role of the elite in the works of later writers (when it generally refers to the Europeanized Russian elite and is viewed in a far less positive light).

Nevertheless, while these various factors may reappear in very different guises, the diverging value-judgements, emphases and conclusions of the next generation of thinkers (whom we will be looking at in the next few weeks) all in fact reveal the extent to which they were inspired (or provoked) by Chaadaev’s analysis. By emphasizing, in the first place, what Russia lacks, he placed the question of national identity at the forefront of debate. But concerning his own ideas, the main question that remains is: how his view of Russia developed after the First Philosophical Letter, and why he was apparently able to draw more positive conclusions about Russia’s destiny in his “Apologia of a Madman.” In next week’s seminar, we will be discussing his characterization of Russia in the First Letter, and what – if anything – really changes between that and the “Apologia.”

Sources

Philosophical Works of Peter Chaadaev, ed. R. McNally and R. Tempest (Dordrecht, 1991) | Russian text: Философические письма and Апология сумасшедшего

Aizlewood, Robin, “Revisiting Russian Identity in Russian Thought: From Chaadaev to the Early Twentieth Century,” Slavonic and East European Review, 78.1 (2000), 20-43

Copleston, Frederick C., Philosophy in Russia: from Herzen to Lenin and Berdyaev (University of Notre Dame, 1986)

Dobieszewski, Janusz, “Petr Chaadaev and the Rise of Modern Russian Philosophy,” Studies in East European Thought, 54 (2002), 25-46

Epstein, Mikhail, “The Phoenix of Philosophy: On the Meaning and Significance of Contemporary Russian Thought,” Symposion: A Journal of Russian Thought, 1 (1996), 35-74 | online

Herzen, Alexander, My Past and Thoughts, trans. Constance Garnett (London, 1927)

Peterson, Dale E., “Civilizing the Race: Chaadaev and the Paradox of Eurocentric Nationalism,” Russian Review, 56 (1997), 550-63

Walicki, Andrzej, A History of Russian Thought from the Enlightenment to Marxism (Stanford University Press, 1980)

Lectures on Russian Thought: Introduction

Over the next two terms I will be publishing fortnightly lectures from my undergraduate course on Russian thought. I’ve been teaching the course for a few years solely as seminars, but am changing it this year to lectures and seminars. I’ve decided to do so because for many of the students this is an entirely new topic, and I’ve found that faced with the philosophical essays of Kireevsky, Herzen and so on, and even with reading Dostoevsky’s fiction as philosophy, they often don’t know where to start. The result is that I’ve ended up using half the seminar to give an impromptu lecuture to each group. Rather than continuing to do that, I realized it would be better for the students (and more efficient overall) to have more formal lectures to provide them with the background knowledge they need, and hopefully they will be able to bring what they learn from the lectures to better use in the seminars when we discuss the texts in more detail. I decided to post the lectures on my blog so that the students can concentrate in the lectures themselves on understanding the major points, but don’t need to make notes on absolutely everything, as they can revisit it and look into the details later. I have made clear to the students that reading the lecture online is NOT a substitute for attending it in person – the two are meant to go together.

The course is called “The Person, Love and Utopia in Russian Thought” – it acquired the title before I began to teach it, I believe when two earlier courses were amalgamated. I think having the thematic focus makes sense, but it doesn’t preclude a chronological approach to the subject, as charting its development in the nineteenth century is also important. But while that chronology makes for a fairly obvious set of readings for the first half of the course (Chaadaev, the Slavophiles and Westernizers, the Nihilists, Dostoevsky), the picture becomes much more varied thereafter, meaning that any such course will end up having to pick and choose its topics and some things will inevitably be left out. The three themes that form the main focus of the course work well together and feed into each other. They are present in the earlier, chronological section – the person in particular relates strongly to the overarching theme of Russian identity and the questions of the individual and communality in the Slavophiles/Westernizers debate (when utopianism also features), and human nature is central to the work of both Chernyshevsky and Dostoevsky – but become more strongly delineated in the later period, for example in the work of Tolstoy, Solov’ev and Fedorov.

Many years ago when I was an undergraduate, a lecturer who shall remain unnamed told us at the beginning of our course on Russian intellectual history that Russia had never even produced a second-rate philosopher, only third-rate ones. This, unsurprisingly, made me wonder what the point of the subject was, particularly as I soon discovered that a good deal of Russian thought does indeed have its flaws – it is generally unsystematic, in places prone to loose and even dubious argumentation, and at times derivative (although on the other hand it also acquires very distinctive features, and one could hardly call Fedorov, for example, unoriginal). But aside from the very real fascination some of these thinkers inspire, the point is not necessarily the quality of the ideas and writing – this is not a philosophy course, it’s a cultural studies/intellectual history course. The importance of the subject is that these writers stand at the intersection of Russian culture, history and society. Last year, one of my students said that this was the course where everything else made sense – where Solov’ev’s esoteric poetry and the rise of Bolshevism came together. Whatever their flaws (and sometimes within their flaws), one can discover in very different thinkers common ways of approaching specifically Russian questions, which can provide significant insight into Russian culture. I hope that’s what this course enables, and I hope these lectures will help overcome some of the challenges the texts present.

Talking about Dostoevsky on Radio 3

Rather belatedly, I must alert readers to my appearance last week on BBC Radio 3’s Nightwaves programme. As part of a series on ‘the good life’, the programme was devoted to the ambiguous portrayal of goodness – and its spectacular failure – in Dostoevsky’s The Idiot. You can listen to me discussing the novel with theologian Giles Fraser, novelist Zinovy Zinik, and chair Matthew Sweet (with whom, it turns out, I was at school), here.

Lenin and the Constructivists in Stockholm

One of the highlights of my recent trip to Stockholm was a visit to the Moderna Museet. In addition to a very fine lunch with a fabulous view in the restaurant, I very much enjoyed the Explosion! exhibition, and learnt a good deal about Swedish pre-WWII art, but the visit was also notable for a number of Russian links. As we approached the entrance, we came across the Lenin Monumen by Björn Lövin, which commemorates Lenin’s arrival in Sweden on 13 April 1917 on his way back to Russia.

Lenin Monumen, Moderna Museet, Stockholm

X marks the spot under Lenin’s foot when the picture was taken. For more details on the event and the photograph, see Iconic Photos.

Inside the museum, an excellent room on Russian art focused mainly on Constructivism, including a good set of Soviet posters, some of the Rodchenko/Popova works one would expect. Somewhat less expected was the reconstruction of Tatlin’s Monument to the Third International.

Tatlin’s Tower, Moderna Museet, Stockholm

I saw the recreation of the Tower at the Royal Academy for the Building the Revolution exhibition last year, but the effect this time was different.

Tatlin’s Tower, Royal Academy of Arts

In London, partly because it was outside, and partly because the context was an architectural exhibition, I viewed it very much as a building (and a pretty shocking one at that, when I looked at the sketches of how it would have looked in the Petersburg landscape – seriously, the Okhta Centre developers missed a trick, they should have just compared the Gazprom tower with Tatlin’s tower, and everybody would have been so relieved there would have been no fuss at all). In Stockholm, I saw it more as a sculpture, comparable to Rodchenko’s constructions that seek to define space.

The other real treat at the Moderna was the film room adjoining the Russian section, where extended extracts of Dziga Vertov’s Man with a Movie Camera (1929) and Yakov Protazanov’s Aelita: Queen of Mars (1924) were being shown – the sets and costumes of the latter perfectly complementing the Constructivist work being shown next door.

Russian prison experience

Last week I participated in a workshop titled ‘Punishment as a Crime? Interdisciplinary Perspectives on Prison Experience in Russian Culture’, at Uppsala University’s Centre for Russian and Eurasian Studies. The programme, which is available here, was notable for its wide range of papers and approaches. The imperial, soviet and post-soviet periods were all covered, and a number of speakers offered comparative analyses of aspects of imprisonment in different eras. It was also truly interdisciplinary, with historians and social scientists speaking alongside literary and cultural critics. We even had the salutary experience (particularly for those of us used to working solely with books and in theory) of an insider’s perspective, in the form of RUSI research fellow Dr Igor Sutyagin, who spent ten years in prison and penal colonies on trumped-up espionage charges, being released as part of the ‘spy-swap‘ that followed the discovery of a Russian spy ring in the USA in 2010 (better known as the Anna Chapman affair). Approaches ranged from very detailed analyses of prison and forced labour systems to broader ethical and methodological discussions about how imprisonment in Russia should be treated, leading to some significant, though always polite, differences of opinion. My only complaint about the whole event was that there was never enough time for discussion – in practically every session this was cut off when there were still numerous participants wanting to ask questions or make comments. But this shows what a rich and complex topic of research it is.

I’m not going to attempt a comprehensive report of the proceedings, but instead just want to highlight a couple of common themes that resonated most strongly with my own work, and for that reason I’ll focus mainly on the literary/cultural angle. The first relates to continuities. This was the main focus of several papers, including Judith Pallot’s discussion of echoes of the Gulag in today’s penal geography and the treatment of prisoners, Elena Katz’s analysis of the image – and reality – of the prisoner’s wife, from the Decembrists to the present day, and my own paper on the depiction of criminals in labour camps of the imperial and soviet eras. But it reverberated through practically every presentation, revealing the stasis inherent in the Russian penal system. So many of the points made about aspects of the system and its inhabitants at one time could apply to other times, from the inconsistency in conditions between different penal institutions to the absence of legality to its effects on prisoners and the role of the criminal subculture. Igor Sutyagin’s paper startled me because the effects on the prisoner he described were so similar to those we see in Shalamov’s Kolyma Tales. It’s not that I assumed contemporary Russian prisons were in any way pleasant places, but to hear the experience of them framed in terms that are comparable to one of the most extreme representations of the Stalinist camps gave me food for thought.

Unsurprisingly in this context, the questions of the mechanisms we use to compare different eras, and whether the Russian system can be compared to imprisonment in other countries, were raised more than once. On the first issue, is the judicial system (or degree of adherence to it) most important, conditions in prisons and camps/colonies, or their effect on the inmates? Should we be examining the question by comparison with life outside the penal system (for many workers on collective farms and industrial sites in the 1930s, living conditions were not much better than those in the Gulag), or, as one delegate suggested, by how much life outside changes over a period of imprisonment and to what extent an ex-convict can reintegrate into life after prison? On the second question, some rejected the possibility of comparison with ‘western’ prisons, but others argued that there is no such thing as a homogenous western system of incarceration, and while prisons in our host country may have nothing in common with those in Russia, US penitentiaries and some UK prisons are comparable. That such a comparison can be fruitful was amply demonstrated by Andrei Rogatchevski’s thought-provoking analysis of the prison writings of Eduard Limonov and Jeffrey Archer (a name I never expected to encounter at a Russian studies conference!).

Andrei Rogatchevski’s paper also chimed with my own in taking creativity and the writer’s encounter with prison culture as its main theme, placing emphasis on the authors’ status as outsiders. The question of artistry was also strongly in evidence elsewhere – in particular, in Andrea Gullotta’s paper on Gulag humour, and Helena Goscilo’s examination of criminal tattoos. Both these papers focused on the development of prison and camp culture across time, and its role in contemporary society. The latter was also the subject of Valentina Shatalina’s exploration of the moral and psychological dimensions of the prison theme in Russian television serials. The transmission of conceptions of incarceration beyond the barbed wire and prison walls has played a significant role in both popular and more high-brow Russian culture, and the workshop helped to reveal the range of that influence and clarify some of the reasons why it has become such an important theme.

My thanks to the organizers of the workshop, Julie Hansen and Andrei Rogatchevski, the administrators Jevgenija Gehsbarga and Nazgul Engvall, and all the participants for their good company, interesting papers, and lively discussion. I look forward to revisiting that discussion in the planned publication.

Four short links: Victor Serge

I’ve read quite a few of Victor Serge’s (Victor Lvovich Kibalchich’s) fictional and autobiographical works recently, and have come to the conclusion that he is a truly remarkable writer – indeed one of the most underrated writers of the twentieth century. My plan to write a longer post or two about his work has stalled somewhat, so as a taster, here are some other links.

1. A decent selection of Victor Serge’s writings can be found on the Marxist Internet Archive, and various essays by and about him are also available at Revolutionary History.

2. As one would expect, the consistently informative and interesting Poumista has a good round up of writings on Serge.

3. On the NYRB Classics blog A Different Stripe (NYRB doing sterling work as publishers of Serge in the last few years), Richard Greeman writes about Serge’s Political Testament. See also the recent post on Serge’s son Vlady Kibalchich’s paintings.

4. A thought-provoking analysis of Serge’s modernism in his brilliant Barcelona-set novel The Birth of Our Power, by The Anatomy Lesson.

Also worth reading are a couple of recent reviews of Memoirs of a Revolutionary – by Nicholas Lezard in The Guardian, and  John Gray in The New Statesman. My own thoughts on the Memoirs will appear here in due course.

Four short links: Gulag

A number of Gulag sites have come or returned to my attention recently, so this is a quick round-up of the best (for reasons I won’t go into, I’m rather short of time at the moment and the longer posts I’m trying to write are somewhat behind schedule). I’ve not included the virtual museums I featured in a previous post, or Mapping the Gulag, which I discussed in relation to the BASEES conference in 2010 that saw the website launch.

1. Sound archives: European memories of the Gulag is a fascinating project. The French academics involved are introduced and interviewed here, and this is an early review of the website.

2. The Gulag project A new site that already has some interesting conceptual maps. I look forward to seeing how it develops.
See also the three parts of the Gulag infrastructure project on The Basement Geographer: the Road of Bones, the Road of Death, and Norilsk.

3. Geologist to Geologist The link is to the section that deals specifically with Dalstroi, although a lot of this interesting but occasionally slightly odd website is concerned with the Gulag and Kolyma; a number of Shalamov’s stories, including ‘Geologi‘, confirm the importance of geology to the development of the camp system.

4. Butugychag Part 1 and part 2 of an evocative two-part photo essay about the best preserved camp in Kolyma, from the excellent Ask Magadan website.

Music Monday: Hooligan

While I was reading up on Sergei Esenin recently (in connection with Shalamov), I was alerted to the song ‘Hooligan’ by Max, Kevin Mooney’s post-Adam and the Ants band, here in a great performance at The Clarendon, Hammersmith in, I believe, 1985:

[‘Hooligan’ on YouTube]

Reliable sources who were there at the time inform me that this song is about Esenin. That certainly sounds about right, but if anyone out can confirm it or fill in the details, I’d love to hear from you.

In the hooligan persona he cultivated, his short-lived marriage to Isadora Duncan, and in particular his suicide, complete with farewell poem written in blood, Esenin’s self-image certainly resonates across cultural boundaries. Many of his poems have been set to music (here is one of many versions of ‘Letter to my Mother‘), and have inspired other artistic responses, such as this animation of his hallucinatory poem ‘The Black Man‘ by Alex Popugaev. So perhaps it’s not surprising for him also to turn up in the context of eighties punk.

For more on hooliganism as a cultural phenomenon in Russia, see Joan Neuberger’s seminal 1993 study, Hooliganism: Crime, Culture, and Power in St Petersburg, 1900-1914. It contains only a very brief discussion of Esenin (p. 151), but is a fascinating examination of social change and class dynamics in the pre-revolutionary period. Whilst reading it recently, I had a strange realization that it represents the point where all my research interests intersect.

More Music Mondays soon!

Update (6 July 2012)

A 2004 interview with Kevin Mooney by Richard Cabut for 3:AM confirms the Esenin connection:

‘There, the finger is firmly on the fast forward button of desire and disaster while chatting about, for instance, Imaginist poet Sergei Esenin, death and lost love that screams silent like a supersonic whistle.’

Thanks to John Levin for alerting me to this interview.

Varlam Shalamov and the art of defecation

With apologies to any readers of a sensitive disposition, this is an important subject. Pretty much every Gulag narrative makes mention of the primitive toilet facilities and prison cells and camps – the ubiquitous and foul-smelling parasha (slop bucket) and arrangements for its emptying – and there are plenty of references to feelings of shame at the lack of privacy they afforded, but most narratives draw the line there. This is hardly a surprise – a taboo surrounding bodily functions means that we frequently receive a strangely sanitized view of camp life which, for all the filth it depicts and disgust it may evoke, seldom in fact challenges the boundaries of taste.

Not so in the stories of Shalamov, where we read unflinching descriptions of the bowel movements and meagre fecal productions of the dokhodiaga (goner). But Shalamov’s matter-of-fact reflections on defecation are neither gratuitous nor random; they are connected specifically with the theme of writing. In his article ‘Les corps de la mémoire,’ Eric Lozowy notes that in the story ‘Perchatka‘ (Glove), the description of the medical assistant recording on a table the consistency and frequency of the author’s stools, in order to produce a diagnosis of dysentery or pellagra, are connected to the wider themes in the story of writing the illness and, in receiving a diagnosis, recovering identity as a writer. The documenting of the stools is also linked to Shalamov’s fundamental idea of the prose of the document, as expressed in his letters and essays.

In the little-known tale ‘Afinskie nochi‘ (Athenian Nights) – like ‘Perchatka’ from the final collection, and one of the last stories Shalamov wrote – this connection gains an additional dimension. At the start of the story, returning to life after the medical courses have given him a future, the author begins to think about camp existence:

In Utopia Thomas More defines four basic human feelings, the satisfaction of which leads to the highest bliss in More’s terms. In first place More puts hunger — the satisfaction of having eaten food; the second most powerful feeling is sexual; the third is urination, the fourth defecation.
It was precisely of these four feelings that we were deprived in the camp. (Shalamov, 2:410)

Thereby positing a grotesque body in Rabelaisian mode, Shalamov’s subsequent treatment of the breakdown of these feelings denies any carnivalesque interpretation that might suggest a celebration of life and the human. On the subject of defecation, to which he devotes most space, he writes:

Emptying your bowels is no easy task for a goner. Doing up your trousers in fifty degrees of frost is beyond your strength, and in any case a goner empties his bowels once every five days, refuting physiology, and even pathophysiology textbooks. The expulsion of dry pellets of faeces — the organism had wrung out everything that might maintain life.
No goner obtains any enjoyment, any pleasant feeling, from defecation. […] The cunning half-beast detainee uses defecation to gain a rest, a breather on the via dolorosa to the gold mine. The only ruse detainees have in the battle with the might of the state, with its million-strong army of soldier-escorts, social organizations and state institutions. The goner opposes this great power with the instinct of his own arse. […]
Attempts to have a rest, take down one’s trousers and squat for a second, for a moment, less than a second, to distract oneself from the torment of work, are worthy of respect. […] [N]ovices sometimes take this illegal form of rest, steal minutes of the working day from the state.
And then the escort intervenes, bayonet in hand, to expose the dangerous criminal malingerer. In the spring 1938 at the gold face of the ‘Partizan’ mine I myself was witness to a guard brandishing his bayonet at my comrade:
– Show your shit! It’s the third time you’ve sat down. Where’s your shit? – accusing a half-dead goner of malingering.
They didn’t find any shit.
The goner Serezha Klivansky, my university comrade, second violinist at the Stanislavski Theatre, was accused of sabotage, illegal rest during defecation in a sixty-degree frost, accused of holding up the work of the section, the brigade, the zone, the mine, the region, the state […].
There really was no shit in Serezha’s bowels; but there were urges ‘down below’. But you would have to have been a medic, and not a Kolyma medic, but someone from the capital, from the mainland, someone pre-revolutionary, to understand all that and explain it to someone else. Here was Serezha, waiting to be shot for the simple reason that there turned out to be no shit in his bowels. […]
My argument with Thomas More dragged on, but it was coming to an end. All these four feelings that had been trampled, demolished, crushed — their destruction wasn’t the end of life. They were all resurrected. After resurrection — only a distorted, ugly resurrection of each of these four feelings — a camp inmate sits above the ‘hole’, feeling with interest something soft crawling along his ulcerated bowel, painlessly, but gently, warmly, as if his faeces are somehow sorry to part with his gut. The faeces fall into the pit with a spatter, a splash — faeces float for a long time on the surface in the cesspit, unable to find their place: it’s a start, a miracle. (2:411-2)

Just when you wonder where the story is taking such contemplations – like several other tales in the final collection, it is quite loosely constructed in comparison with his earlier works – it changes direction completely:

More acute than thoughts about eating, about food, a new feeling appears, a new demand, completely forgotten by Thomas More in his crude classification of the four feelings.
The fifth feeling is the demand for poetry. (2:413)

With poetry thus defined as a physical need, Shalamov then discusses poetry evenings he organized with two other convicts at the hospital in Debin where he was working as a medical assistant in the late 1940s. And while the description of the three men reciting poetry to each other in the dressing station is both fascinating and charming, its relationship to the preceding matter, in a story whose title alludes to classical notions of art and culture, sticks most firmly in the mind.

What is significant here, first of all, is the common movement from the internal to the external, which gives both memory and writing physical dimensions – as we also see in the letter from 1971 that was published as the essay ‘O moei proze’ (On my Prose), where everything must forced out (vytalkivaetsia) from the brain like a contraction of the heart muscle (6:497). It emphasizes the writing of his ‘new prose’ as a purely internal process – this is not a subject for the muses – and designates the memory and the narration of the labour camp experience as excrement, precious as affirmations of both the life and the disease, but nevertheless the waste product of that existence. Placing the source of literature within physical being renders the former ambivalent, all the more so as the status of the body from which it emerges is equally uncertain. The image in ‘Perchatka’ of the skin being shed ‘like a snake’ (2:284) – a symptom of pellagrous dermatitis – relates evacuation to the outer rather than the inner body, to suggest that the body is turned inside out by the physical hardship of the camps, and that the skin is ridding itself of the destroyed person, rather than the person of the damaged skin.

Moreover, ‘Afinskie nochi’ posits a connection between the sublime and the farcical,  as the poetry evenings that focus on the lyric poets of the early twentieth century are parodied in Klivansky’s abject ‘performance’ before the guards. The reference to his former job at the Stanislavski Theatre implies that the unsuccessful act of defecation is his emotional memory, which again suggests the loss of inner being, in both the physical and emotional senses. Shalamov here brings together the most rarefied with most material aspects of humanity to affirm the co-existence of both extremes of experience – an unusual moment in the stories, which more often deny the possibility of anything positive arising out of the camps. But that is not to imply an entirely rosy view. Just before sketching the scene with Klivansky, Shalamov asserts that there can be no comedy in the camp theme (2:411), so the black humour of the anecdote reinforces the humiliation of the private becoming the public – another way in which the inner is turned outwards – by subverting the reader’s sense of empathy with the victim, reduced to his physical (mal)functions and further victimized because of these.

I would suggest that defecation for Shalamov becomes not only emblematic of the physical condition of prisoners, but also, because of the expulsive movement, central to the problem of literature produced as a result of the camp experience. Such writing comes not from without, through the descent of poetic inspiration (it is notable in the story that although they are all writing poetry, the three convicts read others’ works rather than their own, creating a separation from their present situation), but solely from within. But can the corrupted and broken body from which it is expelled produce other than a deformed literature? It probably depends what one means by that, but for me one of the reasons Shalamov is such an extraordinary writer is the bravery with which he faces and incorporates both the deformation, and his own reflections upon it, in his stories.

Sources

Eric Lozowy, ‘Les corps de la mémoire. Écriture et corporalité dans l’oeuvre de Chalamov’, Zagadnienia rodzajów literackich/Les Problèmes des genres littéraires, 43.1-2 (2000), 99-113

Varlam Shalamov, Sobranie sochinenii v shesti tomakh (Moscow: Terra, 2004)

Dostoevsky and the Gulag

I’ve started work on a paper on the depiction of criminals in labour camp writing for a workshop later this summer, and as Dostoevsky is one of my starting points, this has led me to revisit the broader question of the role of recurrent references to him in Gulag literature. This post is not intended to be in any way exhaustive, but just to gather together some thoughts and identify a few trends.

Dostoevsky’s writings exerted a powerful influence on twentieth-century Russian and world literature, in terms of both his thought and his aesthetics, but perhaps nowhere was this influence more strongly felt than in the field of labour camp writing. Dostoevsky was not the first political prisoner in the tsarist era to write about the experience of exile, imprisonment and hard labour; the early 1860s, when Notes from the House of the Dead first appeared, also saw the first publication of memoirs by the Decembrists exiled to Siberia, and of The Life of the Archpriest Avvakum, Written by Himself. The image of the Decembrists and their wives played a major role in cultural life in Russia in the nineteenth century (as, for example, in Nekrasov’s poem Russian Women, and Avvakum’s work, completed in 1675, is significant not only as one of the first examples of both Russian autobiographical writing and writing about the experience of prison and exile, but also because it is a very early work of Russian literature written in the vernacular. However, it is Dostoevsky’s fictionalized account of imprisonment and hard labour which established the tradition of labour-camp writing in Russia and overwhelmingly acted as the major source and point of comparison for twentieth-century Gulag writers.

Thus Solzhenitsyn says in The Gulag Archipelago that Dostoevsky is the writer prisoners should read (vol. 1, p. 214), but also uses references to Dostoevsky to show how the situation of convicts has changed for the worse since the Revolution (vol. 2, pp. 200, 203 and passim – there are over a dozen such references to Dostoevsky in this volume alone). Varlam Shalamov’s references to Dostoevsky also have the latter function, and he rejects Dostoevsky as a possible model for Gulag writers for this very reason (‘there’s no need to polemicize with Dostoevsky about the advantages of “work” in labour camps in comparison with the idleness of prison and the merits of “fresh air”. Dostoevsky’s time was another time, and hard labour then hadn’t reached the heights being told of here’; Shalamov, 1:129). On the other hand, he freely endorses the power of Dostoevsky’s approach to the people with whom he was imprisoned, even while insisting it is no longer relevant; for example, whilst claiming that Dostoevsky never encountered the true criminal world as it existed in the Stalinist era, he admits, ‘If he had come across it, we would, perhaps, have been deprived of the best pages of that book [House of the Dead — SJY] — the affirmation of faith in man, affirmation of the positive instincts found in human nature.’ (Shalamov, 2:8) Perhaps the most overt use of Dostoevsky’s work in a Gulag text relating to the Stalin era is found the Polish writer Gustav Herling’s A World Apart. The title is taken from House of the Dead, and the memoir uses several extracts from the novel as epigraphs, and details Herling’s experience of reading this book in the Gulag, as he comes to the view that violence of the state against the individual, and of individuals against each other, are an inherent part of Russian culture.

References to Dostoevsky are equally prevalent in works by the next generation of prisoners, in the 1960s and 1970s. We might expect that Valery Tarsis’s autobiographical novel of incarceration in a psychiatric hospital in the 1960s, Ward 7, to have Chekhov’s short story, from which its title is clearly derived, as its main intertext. Ward 6 is indeed mentioned, and the head doctor in Tarsis’s work is compared to the doctor in Chekhov’s story, but in fact the novel contains over four times as many overt references to Dostoevsky, and is self-consciously constructed around a series of Dostoevskian dialogues on the themes of good and evil, beauty, and oppression.

In such texts, Dostoevsky is frequently viewed as a moral touchstone and a prophet, owing to the critique of oppression inherent in his characters’ “anthill theories,” and the idea from The Brothers Karamazov that ‘if there is no immortality, then everything is permitted’ (Dostoevskii, vol. 14, p. 76); his novels showed, as Andrei Sinyavsky states in Soviet Civilization, the real-life consequences of the absolute imposition of the utopian project (p. 32), as well as what happens when the ethical is subordinated to the political – as with Raskolnikov, the Grand Inquisitor and the revolutionaries in Demons. Dostoevskian references in Gulag texts therefore call for a return to the primacy of the ethical and emphasize the authors’ experience of the consequences of the prevailing ideology. Thus Eduard Kuznetsov, imprisoned in 1970, uses a metaphor from The Brothers Karamazov, among other references to Dostoevsky, to describe the entire process of revolution and terror: ‘Insofar as the kingdom of the Smeryakovs, who murdered all the Dimitris and Alyoshas in 1917 and then again the Ivan Karamazovs in 1937, appears indestructible…’ (p. 47) Although some might argue that the Ivans did the killing in 1917, Kuznetsov’s use of this construction suggests that the corruption and violence of the Soviet regime existed at its very inception, and was not a later falling away from the ideal.

This confirmation of the particular relevance of Dostoevsky’s ideas and writing to the Stalinist system has to be understood in the context of official attempts to turn the author into persona non grata, destroy his reputation and altogether de-canonize him, precisely because of his critique of socialism (James Goodwin’s Confronting Dostoevsky’s Demons gives a good account of this). Critical literature on Dostoevsky during the Stalin period took the form of savage attacks, and only Gorky and a small number of the most committed Bolsheviks were permitted to write about him at all. A typically arch passage from The First Circle, when Clara Makarygina recalls the university literature course she gave up, in which ‘there had been a quick survey of some complete nobodies like Stepniak-Kravchinsky, Dostoevsky and Sukhovo-Kobylin, the titles of whose books it was apparently not even necessary to learn’ (p. 237; translation altered; see chapter 43 of the full 96-chapter version), indicates the State’s ideal positioning of Dostoevsky among the forgotten authors of the time (but note also that the inclusion of Stepniak here suggests earlier generations of revolutionaries were equally apt to fall into disfavour). In the face of attempts to deny him a place in Russian literature, Gulag narratives re-canonize Dostoevsky and re-introduce his themes of oppression, morality, mortality into literary discourse.

Beyond the literature of the labour camps, we see a similar trend developing in the sixties and seventies. In Yuri Trifonov’s wonderful novel House on the Embankment, Professor Ganchuk, after a lifetime of admiring Gorky and polemicizing with Dostoevsky in lectures, sees the light with a phrase which elides two of Dostoevsky’s most powerful ideas:

He said that the thought that had tormented Dostoyevsky – if man’s last refuge is nothing but a dark room full of spiders, then all is permitted – had hitherto been interpreted in a wholly simplistic, trivial sense. All such profound problems had, in fact, been distorted into pathetically inadequate form, but the problems themselves were still there and would not go away. Today’s Raskolnikov’s did not murder old women moneylenders with an ax, but they were still faced with the same agonizing choice: to cross or not to cross the line. In any case, what was the difference between using an ax and any other method? (p. 343).

And Boris Pasternak was known to refer to the Ezhovshchina as the Shigalevshchina, after the character in Demons who states that starting from unlimited freedom he arrived at unlimited despotism. (Dostoevskii, vol. 10, p. 311) Thus when the literary scholar and camp survivor D. S. Likhachev, writing much later, illustrates the early development of his thinking with reference to Dostoevsky (for example, ‘If time is an absolute reality, then Raskolnikov was right’, p. 67), he is signalling a rejection of official discourse, and his approval of subsequent moves by dissidents in the Soviet period to reclaim Dostoevsky’s artistic and philosophical legacy; references to Dostoevsky become textual markers, a sign of author thinking both as an individual and about the individual.

Likhachev also notes in his memoirs (p. 291n) that whilst imprisoned on Solovki in the early 1930s, the historian and kraeved N. P. Antsiferov worked in Krimkab – where letters, drawings, and verses by criminal prisoners were collected – in order to ‘come to understand the psychology of the people of Dostoevsky’s The House of the Dead.’ (p 346) The work carried out in Krimkab by the intellectuals bears other hallmarks of a ‘Dostoevskian’ approach to imprisonment; just as Dostoevsky developed an interest in forms of language and collected examples of criminal slang (in his Siberian Notebook) for later use in his writing, so Likhachev records that on Solovki, ‘questions of language and linguistic culture became one of the most important topics of our conversation’ (p.139). He notes that the philosopher A. A. Meier’s work on myth and language was begun there (p. 137), while Likhachev’s own first published work after his release was a socio-linguistic article on criminal slang (‘Cherty pervobytnogo primitivisma vorovskoi rechi’). Later generations of prisoners and writers, in particular Solzhenitsyn (see The Oak and the Calf, p. 114) and Siniavsky (in Voice from the Chorus), also developed an interest in labour camp and criminal language, collected it and made great use of it in their works. The question of language represents the starting point for the paper I’m writing, so at this point I shall bring these musings to a close.

Sources

Archpriest Avvakum, The Life, written by Himself, ed. and trans. Kenneth Bostrom (Ann Arbor, MI: Michigan Slavic Translations, 1979) Russian | parallel text
G.R.V. Barratt, ed., Voices in Exile: The Decembrist Memoirs (Montreal: McGill-Queen’s University Press, 1974)
F M Dostoevskii, Polnoe sobranie sochinenii v tridtsati tomakh (Moscow and Leningrad: Nauka, 1972-1990)
James Goodwin, Confronting Dostoevsky’s Demon: Anarchism and the Specter of Bakunin in Twentieth-Century Russia (New York: Peter Lang, 2010)
Gustav Herling, A World Apart, trans. Joseph Marek (London: Heinemann, 1986; first publ. 1951)
Eduard Kuznetsov, Prison Diaries, trans. Howard Spier (London: Vallentine, Mitchell, 1975)
Dmitry S. Likhachev, Reflections on the Russian Soul: A Memoir, trans. Bernard Adams, ed. A. R. Tulloch (Budapest: Central European University Press, 2000)
D. S. Likhachev, ‘Cherty pervobytnogo primitivisma vorovskoi rechi,’ Iazyk i myshlenie, 3-4 (1935), 47-100
Varlam Shalamov, Sobranie sochinenii v shesti tomakh (Moscow: Terra, 2004-5)
Andrei Sinyavsky, Soviet Civilization: A Cultural History, trans. Joanne Turnbull and Nikolai Formozov (New York: Arcade, 1990)
Aleksandr I. Solzhenitsyn, The Oak and the Calf: A Memoir, trans. Harry Willetts (New York: Harper & Row, 1979)
Aleksandr Solzhenitsyn, The Gulag Archipelago: An Experiment in Literary Investigation, trans. Thomas P. Whitney (vols 1 & 2), Harry Willetts (vol 3) (London: Collins Harvill, 1974-8) vol 1 | vol 2 | vol 3
Alexander Solzhenitsyn, The First Circle, trans. Max Hayward, Manya Harari and Michael Glenny (London: Collins Harvill, 1988; first publ 1968)
Valeriy Tarsis, Ward 7, trans. Katya Brown (London & Glasgow: Collins Harvill, 1965)
Abram Terts [Andrei Siniavskii], A Voice from the Chorus, trans. Kiril Fitzlyon (London: Collins Harvill, 1976)
Yuri Trifonov, Another Life and The House on the Embankment, trans. Michael Glenny (Evanston: Northwestern UP, 1999)
V. A. Tunimanov, ‘Dostoevskii, B. L. Pasternak i V. T. Shalamov: skreshchen’e sudeb, poeticheskikh motivov, metafor‘, in F. M. Dostoevskii i russkie pisateli XX veka (St Petersburg, 2004), pp. 272-379