How did the Eastern European and Soviet states write their respective histories of art and architecture during 1940s–1960s? The articles address both the Stalinist period and the Khrushchev Thaw, when the Marxist-Leninist discourse on art history was "invented" and refined. Although this discourse was inevitably "Sovietized" in a process dictated from Moscow, a variety of distinct interpretations emerged from across the Soviet bloc in the light of local traditions, cultural politics and decisions of individual authors. Even if the new "official" discourse often left space open for national concerns, it also gave rise to a countermovement in response to the aggressive ideologization of art and the preeminence assigned to (Socialist) Realist aesthetics.

How did the Eastern European and Soviet states write their respective histories of art and architecture during 1940s-1960s? The articles address both the Stalinist period and the Khrushchev Thaw, when the Marxist-Leninist discourse on art history was "invented" and refined. Although this discourse was inevitably "Sovietized" in a process dictated from Moscow, a variety of distinct interpretations emerged from across the Soviet bloc in the light of local traditions, cultural politics and decisions of individual authors. Although the new "official" discourse often left space open for national concerns, it also gave rise to a countermovement in response to the aggressive ideologization of art and the preeminence assigned to (Socialist) Realist aesthetics.

After the Bolshevik revolution in 1917, the new government took control of Russian art, nationalizing art collections and laying down the principles that were to govern the creation of new art. Soviet Realism was the result. This book traces the style from its artistic and intellectual origins in 19th-century Russia to its decline at the end of the Soviet period. 184 color and 346 b&w illustrations.

When Trisha Low moves west, her journey is motivated by the need to arrive “somewhere better”—someplace utopian, like revolution; or safe, like home; or even clarifying, like identity. Instead, she faces the end of her relationships, a family whose values she has difficulty sharing, and America’s casual racism, sexism, and homophobia. In this book-length essay, the problem of how to account for one's life comes to the fore—sliding unpredictably between memory, speculation, self-criticism, and art criticism, Low seeks answers that she knows she won't find. Attempting to reconcile her desires with her radical politics, she asks: do our quests to fulfill our deepest wishes propel us forward, or keep us trapped in the rubble of our deteriorating world?

'A gripping, unsettling, and highly original book that turns the making of a Soviet socialist-realist classic—Azhaev's Far from Moscow—into a detective story, and sheds as strange and ambiguous a light on the Stalin era, from gulag to Writers'Union, as one could hope for. Lahusen is a disarmingly low-key scholarly virtuoso who performs simultaneously as an archive-based historian, an interpreter of texts (including Azhaev's own self-organized archive), and a gently relentless biographer whose stalking of his prey is reminiscent of Nabokov. The final chilling paragraph typically economical and understated, is a reminder that the author/investigator, too, is a collaborator in the multiple reworkings of Azhaev's text, and of his life, that How Life Writes the Book has so finely analyzed.'—Sheila Fitzpatrick, University of Chicago 'This is a wonderfully original work: a history of a book, a literary analysis of an age, a montage of a life. Lahusen writes with a postmodern sensibility but without the postmodernist jargon.'—Yuri Slezkine, University of California, Berkeley 'Thomas Lahusen has written an imaginative and archivally grounded book that presents the most fascinating picture to date of the literary process that produced canonical works of Socialist Realism and the people who wrote them. How Life Writes the Book is alternatingly chilling and funny as it demonstrates the interpenetration of literary institutions, massive construction projects and the Soviet system of prison camps and slave labor. With this study, as with his earlier Intimacy and Terror, Lahusen continues his own project of revolutionizing our understanding of the Soviet subject and Soviet subjectivity.'—Eric Naiman, University of California, Berkeley 'Lahusen's case study marks a new genre of inquiry into the very nature of socialist realism, a genre which became possible after archives and memory in Russia regained their voice. It shows how life is transformed into Soviet myth.'—Hans G'nther, editor of The Culture of the Stalin Period

Socialist Realism Without Shores also addresses the critical discourse provoked by socialist realism - Stalinist aesthetics; "anthropological" readings; ideology critique and censorship; and the sublimely ironic approaches adapted from sots art, the Soviet version of postmodernism.

The social realist movement, with its focus on proletarian themes and its strong ties to New Deal programs and leftist politics, has long been considered a depression-era phenomenon that ended with the start of World War II. This study explores how and why African American writers and visual artists sustained an engagement with the themes and aesthetics of social realism into the early cold war-era--far longer than a majority of their white counterparts. Stacy I. Morgan recalls the social realist atmosphere in which certain African American artists and writers were immersed and shows how black social realism served alternately to question the existing order, instill race pride, and build interracial, working-class coalitions. Morgan discusses, among others, such figures as Charles White, John Wilson, Frank Marshall Davis, Willard Motley, Langston Hughes, Sterling Brown, Elizabeth Catlett, and Hale Woodruff.