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The Enthralling, Anxious World of Vladimir Nabokov’s Dreams

Dreams are boring. On the list of tedious conversation topics, they fall somewhere between the five-day forecast and golf. As for writing about them, even Henry James, who’s seldom accused of playing to the cheap seats, had a rule: “Tell a dream, lose a reader.” I can remember when I accepted that my own unconscious was not a fount of fascination—I’d dreamed, at length and in detail, of owning an iPhone that charged really, really fast.

How unfair it is, then, that Vladimir Nabokov can show up, decades after his death, with a store of dreams more lush and enthralling than many waking lives. In 1964, living in opulence at Switzerland’s Montreux Palace Hotel, Nabokov began to keep a dream diary of a sort, dutifully inscribing his memories on index cards at his bedside in rubber-banded stacks. These cards, and Nabokov’s efforts to parse them, are the foundation of “Insomniac Dreams,” a recently published chronicle of the author’s oneiric experiments, edited by Gennady Barabtarlo, a profes…

The Horror, the Horror - Isaac Babel

On January 17, 1940, Stalin approved the sentences of 346 prominent people, including the dramaturge Vsevolod Meyerhold, the former NKVD (secret police) chief Nikolai Yezhov, and the writer Isaac Babel. All were shot. Babel had been arrested on May 15, 1939, in the middle of the night, and, the story goes, he remarked to an NKVD officer: “So, I guess you don’t get much sleep, do you?”

Grim wit was Babel’s trademark. He is best known for a cycle of short stories entitled Red Cavalry, a fictionalized account of his experiences as a Bolshevik war correspondent with a Cossack regiment during the Soviet invasion of Poland in 1920. Lionel Trilling, who introduced Babel to the English-speaking world, recognized these stories as the masterpiece of Soviet literature.1 Some of Babel’s other stories, especially his Odessa tales, also impressed Trilling and have remained favorites. They offer a tragicomic portrait of Odessa’s large Jewish community, with its rabbis, sensitive schoolboys, and, impr…

Léon Bakst and the Writer: of the Russian Silver Age

A prominent artist of the Silver Age of Russian culture, Léon (Lev Samoilovich) Bakst was also a notable figure in the literary community of his time. He was acquainted with, or a friend of many writers and poets whose portraits he painted and whose books he illustrated.

Lev Samoilovich was familiar not only with the classics but with the latest literary works, too. He explained his literary tastes in a 1903 letter to his fiancee Lyubov Grishchenko, daughter of the collector and patron of the arts Pavel Tretyakov: “I hate Dostoevsky and Leo Tolstoy; I love Gogol, Pushkin, A. [Alexei] Tolstoy, Lermontov, Goncharov, Chekhov, Verlain[e], Musset, Balzac, Baudelaire, Dickens, Bret Hart, Daudet...”[1] Bakst wrote about his first meeting with Anton Chekhov: “Once, as I dropped in on A. Kanaev, in his dimly-lit study on Troitskaya Street, I saw him talking with a fair-haired man of medium height, whom I took for a student by virtue of his costume and the unruly mop of hair over his forehead. I…

Gorbachev: His Life and Times by William Taubman

If Russia is a riddle wrapped in a mystery inside an enigma, the same holds true for its most famous living citizen, Mikhail Gorbachev. From March 1985 to December 1991 he was under an unrelenting national and international spotlight as the Soviet Union’s leader. He wrote several autobiographical books while in power and has written more since retirement. At least a dozen associates have published memoirs in which he features prominently. Yet in spite of all this scrutiny, key questions about the man who did more than any other to change Europe and the world in the last half of the 20th century remain without clear answers.

How did a secret reformist get chosen by deeply conservative elders to be their country’s next leader? Gorbachev felt his country needed fundamental change, so why did he not quickly develop a programme of political and economic action once he had secured the top job? Why did he fail to foresee the rise of nationalist unrest that eventually led to the Soviet Union’s…

The great error - The bookishness of Bolsheviks

What more fitting monument to a millenarian movement could there be than a thousand-page “saga”? Yuri Slezkine’s guiding argument in this remarkable, many-layered account of the men (rarely women) who shaped the October Revolution is that the Bolsheviks were not a party but an apocalyptic sect. In an extended essay on comparative religion that constitutes just one of his thirty-three chapters, he puts Russia’s victorious revolutionaries in a long line of millenarians extending back to the ancient Israelites; in their “totalitarian” demands on the individual believer, he suggests, the Bolsheviks are cut from the same cloth as the sixteenth-century Münster Anabaptists and the original “radical fundamentalist”, Jesus Christ.

Slezkine is by no means the first person to draw the analogy between the Bolsheviks and sectarians (Lenin himself is reported to have taken an interest in the Münster Anabaptists and Cromwell’s Puritans as he pondered Russia’s revolutionary potential in the early twen…

The Nutcracker (1989) Bolsoi Ballet & Orchestra

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The Nutcracker
by Pyotr Ilyich Tchaikovsky
on a story by E.T.A.Hoffman
The Bolsoi Theatre Orchestra
Conductor: Aleksandr Kopilov
Performed by the Bolsoi Ballet at the Bolsoi Theatre, Moscow 1989
Choreography by Yuri Grigorovich
Original choreography by Lev Ivanov
Clara: Natalya Arkhipova
Nutcracker prince: Irek Mukhamedov
Drosselmeyer: Turi Vetrov

Pushkin's pride: how the Russian literary giant paid tribute to his African ancestry

For Russians, Alexander Pushkin inhabits a space beyond taste, where nationalism has given subjective art the patina of fact. He is the undisputed father of their literature in the way Shakespeare is for Brits. Given the insular nature of contemporary Russian politics, it might be hard to imagine that the creator of Eugene Onegin was not only a proponent of multiculturalism and global exchange but an example of it: Pushkin was mixed race, and proud of his African ancestry. 

His great-grandfather, Ibrahim Petrovich Gannibal, was probably born in what is now Cameroon in 1696. Gannibal was kidnapped as a child and taken to Constantinople, where, in one of those confounding literary footnotes, one of Tolstoy’s ancestors “rescued” him (this is Pushkin’s own word – vïruchiv – in a 1824 note) and presented him to Peter the Great.

Gannibal exchanged one form of servitude for another, but as page, godson and exotic court favourite to the emperor, his new life was much more glamorous. Following…