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20 results

  • Russian Hybrids: Identity in the Translingual Writings of Andreï Makine, Wladimir Kaminer, and Gary Shteyngart

  • Adrian Wanner
  • Journal:
    Slavic Review / Volume 67 / Issue 3 / Fall 2008
    Published online by Cambridge University Press:
    27 January 2017, pp. 662-681
    Print publication:
    Fall 2008

  • Authors writing in a language other than their native tongue have become a common phenomenon in an era of increased international mobility. This article is devoted to three Russian-born émigré writers—Andreï Makine (b. 1957), Wladimir Kaminer (b. 1967), and Gary Shteyngart (b. 1972)—all of whom have achieved literary stardom with books written in French, German, and English, respectively. Although each of the three authors has a distinctive style and ideological position, in his own way each projects a “Russian” persona to the western public. Using the notion of cultural hybridity, Adrian Wanner explores the various strategies these authors have adopted in fashioning an identity for themselves that is tailored to meet the demands of the reading public in their respective host nations while exploiting the cachet of the Russian “brand name” in today's global literary economy.

  • From Subversion to Affirmation: The Prose Poem as a Russian Genre

  • Adrian Wanner
  • Journal:
    Slavic Review / Volume 56 / Issue 3 / Fall 1997
    Published online by Cambridge University Press:
    27 January 2017, pp. 519-541
    Print publication:
    Fall 1997

  • The Russian prose poem was officially born in December 1882, when the journal Vestnik Evropy published Ivan Turgenev’s last work, a collection of fifty “poems in prose” (stikhotvoreniia v proze). Although the generic title of Turgenev’s prose miniatures seems to echo Charles Baudelaire’s Petits Poemès en prose (1869), the fate of the prose poem in Russia turned out very differently from that in its country of origin. Whereas the French poème en prose has become a mainstay of modernist poetry, the Russian stikhotvorenie v proze looks at first sight like a rather anemic plant struggling to survive in an inhospitable environment. In many respects, it constitutes a marginal genre par excellence: located in the no-man’s-land between poetry and prose, it was practiced mainly by minor writers, or by major writers only in early youth or old age (note the title Turgenev originally proposed for his prose poems: Senilia).

  • Populism and Romantic Agony: A Russian Terrorist's Discovery of Baudelaire

  • Adrian Wanner
  • Journal:
    Slavic Review / Volume 52 / Issue 2 / Summer 1993
    Published online by Cambridge University Press:
    27 January 2017, pp. 298-317
    Print publication:
    Summer 1993

  • Charles Baudelaire (1821-1867) has been hailed by followers in many countries as a forerunner of symbolism, if not as the father of modern poetry tout court. In Russia, Andrei Belyi celebrated him together with Nietzsche in 1909 as a "Patriarkh Simvolizma"; and Valerii Briusov wrote in the same year: "Is it possible to question the importance of Baudelaire's Fleurs du mal for the formation of the whole worldview of modernity?" Ellis (L.L. Kobylinskii), the most zealous of all Russian symbolist "Baudelaireans," even tried to convince the menshevik social democrat, N. Valentinov, that Baudelaire was "the greatest revolutionary of the nineteenth century, in comparison with whom all Marxes, Engelses, Bakunins, and the rest of the brotherhood which they created, are simply nothing."