NIU in Slavic, East European, and Eurasian Studies

Reading Faithfully reveals how Russian critics of the Silver Age (the late nineteenth and early twentieth centuries) reread and remade Fyodor Dostoevsky for their era of religious renewal amid a broader political embrace of liberal reform and radical politics. Lindsay Ceballos argues that most Silver Age critics engaged in a mode of critique approaching religious faith: critical faith in the moral and artistic value of Dostoevsky that was needed to overcome their doubts about his nationalist rhetoric and politics. Surveying leading critics on and theatrical adapters of Dostoevsky's fiction since his death in 1881, Ceballos advocates for new kinds of critical engagement with his work that draw on the example of Silver Age faithful reading but embrace more complexity and dissonance than critics were able to achieve in that period of fracture and upheaval. Reading Faithfully provides a historical account of Russian culture in a pivotal period, bringing together literary, intellectual, and theater history into one narrative. Ceballos challenges Dostoevsky scholars, asking: What is the future of reading Dostoevsky in the wake of Russia's invasion of Ukraine?

Suffering Victory recounts the commitment of Soviet liberal intellectuals to democratic transition during the effervescent period of perestroika and in the first years of post-Soviet Russia to the rise of Boris Yeltsin and the dissolution of the USSR. Guillaume Sauvé argues that late Soviet liberalism was mainly nourished by the legacy of humanistic socialism, combining Enlightenment ideals and Romantic aspirations, and concludes that the distinguishing feature is its assumed moralism. After encouraging the concentration of power in the hands of the Russian president and an enlightened elite, liberal intellectuals undermined their own democratic project and were pushed aside from decision-making, while being rejected by most of the population for having supported a course of reforms that did not fulfill its promises. As Suffering Victory shows, the success of Russia's liberal intellectuals against the Communist Party came at the price of a decline deeper and more lasting than in most post-communist countries. Following the full-scale invasion of Ukraine in February 2022, the fate of late Soviet liberals sheds crucial light on the prospects of liberal reforms in Russia today.

Family, Sex, and Faith is the first systematic examination of what the Russian Orthodox Church (ROC) teaches and how believers respond to its messages regarding issues such as marriage, divorce, contraception, abortion, husband-wife relations, and LGBTQIA+ rights. According to Pål Kolstø, for the ROC, the ethics of private life involve what Michel Foucault called "biopolitics": the state regulates the sex lives of its citizens to control the development of the population. Family, Sex, and Faith offers a systematic analysis of aspects of the moral theology of the ROC, discussing the means and strategies it employs to achieve its goals, to counter resistance, and to emerge victorious from the battles in which it is embroiled. Although the constitution defines Russia as a secular state, the ROC has achieved a privileged position in society, functioning as a major provider of ideology and legitimacy for the Putin regime.

Seeds of Exchange examines the US and Soviet exchange of agricultural knowledge and technology during the interwar period. Maria Fedorova challenges the perception of the Soviet Union as a passive recipient of American technology and expertise. She reveals the circular nature of this exchange through official government bureaus, amid anxious farmers in crowded auditoriums, in cramped cars across North Dakota and Montana, and by train over the once fertile steppes of the Volga. Amid the post–World War I food insecurity, Soviet and American agricultural experts relied on transnational networks, bridging ideological differences. As Soviets traveled across the US agricultural regions and Americans plowed steppes in the southern Urals and the lower Volga, both groups believed that innovative solutions could be found beyond their own national borders. Soviets were avidly interested in American technology and American agricultural experts perceived the Soviet Union to be an ideal setting for experimenting with and refining modern farm systems and organizational practices. As Seeds of Exchange shows, agricultural modernization was not the exclusive domain of Western countries.

With his translation, Michael R. Katz makes available the first bestselling novel in Russia, Faddei Bulgarin's social satire Ivan Vyzhigin (1829). The novel is an amusing picaresque filled with local color and comical portraits, narrated by its hero, an orphaned peasant who relates his many adventures as a young man. The book is remarkable for its accurate descriptions of nineteenth-century Russian day-to-day reality: the clothes, food, surroundings, and characters that Ivan Vyzhigin encounters. Its publication ushered in the age of prose in nineteenth-century Russian literature, and Bulgarin was hailed by Pushkin as a major prose writer. As William Mills Todd III notes in his introduction, Ivan Vyzhigin opens a window onto what Russians were reading between the late eighteenth century and the 1917 Revolution. Along with Todd's introduction, Katz's annotations provide literary, historical, and cultural context.

Russia's World Order explores the ideas underlying the undeclared New Cold War between Russia and the West. The first Cold War was a struggle between capitalism and communism; most Western politicians and policymakers imagine the new one to be a struggle between democracy and autocracy. Russia's World Order explains that in Russian eyes, the conflict is about something very different: it is a fight between two incompatible visions of where history is leading. Russia's World Order describes the civilizational theory that has come to dominate Russian official discourse, andthat has come to dominate Russian official discourse and that is being used by the Russian state to justify its clashes with the West. Whereas the West promotes a vision of history that drives all nations toward convergence on a single social, political, and economic model (that of modern Western liberalism), Russia's political leaders increasingly portray the world as consisting of numerous distinct civilizations, each diverging toward its own unique destination. The Russian state portrays itself as defending the right of all civilizations to chart their own independent path of development and is having some success in using this logic to win allies around the world. Paul Robinson recounts how ideas of inevitable convergence once dominated Russian thought as well but were gradually pushed out by civilizational theories. He outlines where these theories came from, what they propose, and how they became popular. Russia's World Order thereby reveals the true nature of today's New Cold War and the challenge that Russian civilizationism poses to the West.

The Unfound Peace is the first book dealing with disabled former servicemen of tsarist Russia in all regards-socioeconomic status, healthcare, social reintegration into families and communities, self-representation-and the only one comparing World War I and Russian Civil War veterans. Alexandre Sumpf considers the ways disabled Great War veterans tried to live under the Bolsheviks and compares their experiences with those of the Red Army veterans who received special considerations from the new regime. Offering a history of the body and health in relation to work, The Unfound Peace also compares the situation of disabled veterans with that of disabled workers who were subject to the same demands of extreme productivity but benefited from better social protection, though they dealt with accusations that they were faking their disabilities. Sumpf's exploration of disabled veterans, with transnational comparisons, offers the possibility of rereading the history of the first generation of Soviets through the collective and private memory of war, in the USSR and in exile.

Combining history and biography, The Sirens of the Hotel Louvre focuses on the intimate relationship and professional collaboration between two creative women in Russia's Silver Age (1880s–1920). The actress Lidia Yavorskaya and the writer Tatiana Shchepkina-Kupernik overcame moral and social boundaries to assert themselves as successful artists. Their lives intersected with practically all the major theatrical entrepreneurs and artists of the period in Moscow and St. Petersburg, most notably Anton Chekhov. The opening in the 1880s of private theaters in Moscow and St. Petersburg resulted in an extraordinary flourishing of the dramatic arts, exposing theatergoers to the latest works by both Russian and Western European playwrights. In The Sirens of the Hotel Louvre, Yavorskaya and Shchepkina-Kupernik serve as guides to this remarkable artistic and literary world. Serge Gregory shows how their success in fashioning independent careers reflects the emergence of the theater as one of the few professional paths available for educated women in nineteenth-century Russia who wished to escape the constraints of traditional family life.

In this edited translation of famed writer Ivan Bunin's Recollections translator Thomas Gaiton Marullo provides an intimate look at leading political, social, cultural, and literary figures from late imperial Russia, through the First World War and the revolutions of 1905 and 1917 to the birth of the Russian diaspora and the rise of the Soviet state. Through engaging, colorful, and often idiosyncratic vignettes, Bunin (1870–1953) details his admiration for Leo Tolstoy, Anton Chekhov, Sergei Rachmaninov, and Fyodor Chaliapin. He shares his love-hate relationships with Maxim Gorky, Alexei Tolstoy, and Alexander Kuprin. In addition, Marullo's translation reveals Bunin's hatred of avant-gardists, particularly Vladimir Mayakovsky, as well as his thoughts and experiences on war, revolution, and exile. Bunin's work led, in the end, to his bittersweet reception of the Nobel Prize in Literature (1933) in Stockholm, making him the first Russian and the first writer in exile ever to receive this award. Recollections reveals the author's feelings toward this unprecedented event. Bunin's Recollections stands not only as a stark summa of his passage through literature and life but also as an equally bold apologia as to his place in both.

Cultural Capitalism explores Russian literature's eager embrace of capitalism in the post-Soviet era. When the Soviet Union fell, books were suddenly bought and sold as commodities. Russia's first bestseller lists brought attention and prestige. Even literary prizes turned to the market for legitimacy. The rise of capitalism entirely transformed both the economics and the aesthetics of Russian literature. By reconstructing the market's influence on everything from late-Soviet paper shortages to the prose of neoimperialism, Cultural Capitalism reveals Russian literature's exuberant hopes for and deep disappointments in capitalism. Only a free market, it was hoped, could cure endemic book deficits and liberate literature from ideological constraints. But as the market came to dominate literature, it imposed an ideology of its own, one that directed literary development for decades. Through archival research, original interviews, and provocative readings of literary texts, Bradley A. Gorski immerses the reader in both the economic and aesthetic worlds of post-Soviet Russian literature to reveal a cultural logic dominated by capitalism. The Russian 1990s and early 2000s saw markets introduced, adopted, and debated at an accelerated pace, all against the backdrop of a socialist past, staging the polemics between capitalism and culture in high drama and sharp relief. But the market forces at the center of the post-Soviet transition are fundamental to cultural trends worldwide. By revealing the complexities of Russia's story, Cultural Capitalism mounts a critique that cuts across national borders and provides a new way of seeing culture in the post-1989 era worldwide.

Fyodor Dostoevsky-Darkness and Dawn (1848–1849), the third and final volume on the writer's childhood, adolescence, and youth, seeks to disclose, in a detailed and intimate way, Dostoevsky's last two years before his exile to Siberia. Together with the first two volumes, it attempts to present for the first time a complete and congruent picture of the writer's first twenty-eight years. Thomas Gaiton Marullo first examines diverse responses of the Russian church, state, and citizens to the French socialists, in particular, Charles Fourier, and to the revolutions of 1848 before he moves to lively debates on Dostoevsky's socialism and new attacks on his writings. He then considers the dynamics of the Petrashevsky and Durov circles; fresh assaults on Dostoevsky's works; and the increasing desperation of the writer himself, particularly with Andrei Kraevsky. In the final sections of the book, Marullo sheds light on Dostoevsky's readings of Belinsky's letter to Gogol, the arrests of Petrashevsky and company, including Dostoevsky and his brothers, Andrei and Mikhail, as well as his responses to members of the Investigative Commission for the Petrashevsky Affair, his eight months in prison in the Peter-Paul Fortress, his mock execution on the Semyonovsky Parade Ground, and his departure to exile in Siberia. This volume will be of interest to scholars, students, and devotees not only of Dostoevsky, but also of Russian and European history, culture, and civilization.

Russian Archaism considers the aesthetic quest of Russian modernism in relation to the nation-building ideas that spread in the late imperial period. Irina Shevelenko argues that the cultural milieu in Russia, where the modernist movement began as an extension of Western trends at the end of the nineteenth century, soon became captivated by nationalist indoctrination. Members of artistic groups, critics, and theorists advanced new interpretations of the goals of aesthetic experimentation that would allow them to embed the nation-building agenda within the aesthetic one. Shevelenko's book focuses on the period from the formation of the World of Art group (1898) through the Great War and encompasses visual arts, literature, music, and performance. As Shevelenko shows, it was the rejection of the Russian westernized tradition, informed by the revival of populist sensibilities across the educated class, that played a formative role in the development of Russian modernist agendas, particularly after the 1905 revolution. Russian Archaism reveals the modernist artistic enterprise as a crucial source of insight into Russia's political and cultural transformation in the early twentieth century and beyond.

A Family Chronicle (1856) is Sergei Aksakov's blend of memoir and fiction that tells the story of one Russian family relocating from the city to Russia's eastern frontier in the steppes of Bashkiria. It is an attempt to record oral tradition in writing and occupies a unique place in the history of the nineteenth-century Russian narrative. Aksakov has been called a "genius of reminiscences." This work is unmatched for its meticulous and realistic description of the everyday life of the Russian nobility and was well received by the literary greats of nineteenth-century Russian literature. It has also been said to contain a remarkably honest depiction of human psychology. With this edition of A Family Chronicle, the acclaimed translator Michael R. Katz improves upon the two earlier English versions (both now out of print).

Religion and Secular Modernity in Russian Christianity, Judaism, and Atheism is a multifaceted account of the engagement between religion and the secular in Russia's Christian, Jewish, and atheist traditions. Ana Siljak brings together an interdisciplinary group of leading scholars to present unique perspectives on the secularization dynamic in Russia and the Soviet Union, telling stories about theologians, sects, churches, poets, and artists. From the Jewish Christian priest Alexander Men, to the cross-dressing poet Zinaida Gippius, to the Soviet promoter of Yiddish theater Solomon Mikhoels, Religion and Secular Modernity in Russian Christianity, Judaism, and Atheism gives a voice to a variety of actors who have grappled with the possibilities of faith and unbelief in an industrialized, modern, and seemingly secular world. Now more than ever, as one narrative of Russia's religious history dominates official Russian accounts, alternative perspectives of the relationship between Russian religion and secularism should be highlighted and emphasized.