"Andrey Platonovich Platonov (1899-1951) is increasingly regarded as one of the greatest writers of the Soviet period. His linguistic virtuosity, philosophical rigour and political unorthodoxy combined to create some of the most captivatingly absurd works of literature in any language. Unsurprisingly, many of these remained unpublished in his lifetime, and indeed for many years thereafter. In this lively and original study, Philip Bullock traces the development of feminine imagery in Platonov's prose, from the seemingly misogynist outrage of his early works to the tender reconciliation with domesticity in his final stories, and argues that gender is a crucial feature of the author's audacious utopian vision."

This book traces the originality of Andrey Platonov’s vision of the Revolution in readings of his works. It has been common in Platonov scholarship to measure him within the parameters of a political pro et contra the October Revolution and Soviet society, but the proposal of this book is to look for the way in which the writer continuously asked into the disastrous aspects of the implementation of a new proletarian community for what they could tell us about the promise of the Revolution to open up the experience of the world as common. In readings of selected works by Andrei Platonov I follow the development of his chronicle of revolutionary society, and from within it the outline of the forgotten utopian dream of a common world. I bring Platonov into a dialogue with certain questions that arise from the philosophy of Martin Heidegger and that were later re-addressed in the works of Maurice Blanchot, Georges Bataille and Jean-Luc Nancy, related to the experience of the modern world in terms of communality, groundlessness, memory, interiority. I show that Platonov writes the Revolution as an implementation of common being in society that needs to retrieve the forgotten memory of what being in common means.

Chevengur is a revolutionary novel about revolutionary ardor and despair. Zakhar Pavlovich comes from a world of traditional crafts to work as a train mechanic, motivated by his belief in the transformative power of industry. His adopted son, Sasha Dvanov, embraces revolution, which will transform everything: the words we speak and the lives we live, souls and bodies, the soil underfoot and the sun overhead. Seeking communism, Dvanov joins up with Stepan Kopionkin, a warrior for the cause whose steed is the fearsome cart horse Strength of the Proletariat. Together they cross the steppe, encountering counterrevolutionaries, desperados, and visionaries of all kinds. At last they reach the isolated town of Chevengur. There communism is believed to have been achieved because everything that is not communism has been eliminated. And yet even in Chevengur the revolution recedes from sight. Comic, ironic, grotesque, disturbingly poetic in its use of language, and profoundly sorrowful, Chevengur—here published in a new English translation based on the most authoritative Russian text—is the most ambitious of the extraordinary novels that the great Andrey Platonov wrote in the 1920s and 1930s, when Soviet Russia was moving from revolutionary euphoria to state terror.

In this essential collection of Andrei Platonov's plays, the noted Platonov translator Robert Chandler edits and introduces The Hurdy-Gurdy (translated by Susan Larsen), Fourteen Little Red Huts (translated by Chandler), and Grandmother's Little Hut (translated by Jesse Irwin). Written in 1930 and 1933, respectively, The Hurdy-Gurdy and Fourteen Little Red Huts constitute an impassioned and penetrating response to Stalin's assault on the Soviet peasantry. They reflect the political urgency of Bertolt Brecht and anticipate the tragic farce of Samuel Beckett but play out through dialogue and characterization that is unmistakably Russian. This volume also includes Grandmother's Little Hut, an unfinished play that represents Platonov's later, gentler work.

Taken together, these essays redefine the preconceived notion of Soviet happiness as the product of official ideology imposed from above and expressed predominantly through collective experience, and provide evidence that the formation of the concept of individual happiness was not contained by the limitations of important state projects, controlled by state policies and aimed toward the creation of a new society.

This collection of thirteen vignettes addresses several important episodes in the history of Russian temporary architecture and public art, from the royal festivals during the times of Peter the Great up to the recent venues including the Sochi Winter Olympics. The forms and the circumstances of their design were drastically different; however, the projects discussed in the book share a common feature: they have been instrumental in the construction of Russia’s national identity, with its perception of the West - simultaneously, a foe and a paragon - looming high over this process. The book offers a history of multidirectional relationships between diplomacy, propaganda, and architecture.