A writer who defies categorization, Daniil Kharms has come to be regarded as an essential artist of the modernist avant-garde. His writing, which partakes of performance, narrative, poetry, and visual elements, was largely suppressed during his lifetime, which ended in a psychiatric ward where he starved to death during the siege of Leningrad. His work, which survived mostly in notebooks, can now be seen as one of the pillars of absurdist literature, most explicitly manifested in the 1920s and ’30s Soviet Union by the OBERIU group, which inherited the mantle of Russian futurism from such poets as Vladimir Mayakovsky and Velimir Khlebnikov. This selection of prose and poetry provides the most comprehensive portrait of the writer in English translation to date, revealing the arc of his career and including a particularly generous selection of his later work.

From the acclaimed author of The Man Without a Face, the previously untold story of the Jews in twentieth-century Russia that reveals the complex, strange, and heart-wrenching truth behind the familiar narrative that begins with pogroms and ends with emigration. In 1929, the Soviet government set aside a sparsely populated area in the Soviet Far East for settlement by Jews. The place was called Birobidzhan.The idea of an autonomous Jewish region was championed by Jewish Communists, Yiddishists, and intellectuals, who envisioned a haven of post-oppression Jewish culture. By the mid-1930s tens of thousands of Soviet Jews, as well as about a thousand Jews from abroad, had moved there. The state-building ended quickly, in the late 1930s, with arrests and purges instigated by Stalin. But after the Second World War, Birobidzhan received another influx of Jews—those who had been dispossessed by the war. In the late 1940s a second wave of arrests and imprisonments swept through the area, traumatizing Birobidzhan’s Jews into silence and effectively shutting down most of the Jewish cultural enterprises that had been created. Where the Jews Aren’t is a haunting account of the dream of Birobidzhan—and how it became the cracked and crooked mirror in which we can see the true story of the Jews in twentieth-century Russia. (Part of the Jewish Encounters series)

This volume of essays and other materials offers an assessment of the short prose, verse and drama of Daniil Kharms, Leningrad absurdist of the 1920s and 1930s, who was one of the last representatives of the Russian literary avante-garde.

It was a movement so artfully anarchic, and so quickly suppressed, that readers only began to discover its strange and singular brilliance three decades after it was extinguished-and then only in samizdat and emigre publications.

An American professor of folklore visits relatives in Russia. Initially, he comes to do research on aspects of Russian epics, which have been passed down orally and have literally survived on the lips of the peasants. However, the American soon abandons his primary purpose and decides to pursue loftier goals. He falls in love with a Russian lady. Their romance flourishes. Then, something unexpected occurs and the American discovers the true nature of his lover. Vasil Donskov experiences first hand the tender kiss of a Russian werewolf.

Russia’s Capitalist Realism examines how the literary tradition that produced the great works of Leo Tolstoy, Fyodor Dostoevsky, and Anton Chekhov responded to the dangers and possibilities posed by Russia’s industrial revolution. During Russia’s first tumultuous transition to capitalism, social problems became issues of literary form for writers trying to make sense of economic change. The new environments created by industry, such as giant factories and mills, demanded some kind of response from writers but defied all existing forms of language. This book recovers the rich and lively public discourse of this volatile historical period, which Tolstoy, Dostoevsky, and Chekhov transformed into some of the world’s greatest works of literature. Russia’s Capitalist Realism will appeal to readers interested in nineteenth‐century Russian literature and history, the relationship between capitalism and literary form, and theories of the novel.