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"Russians United States Fiction."
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Turgenev and the Context of English Literature 1850-1900
Turgenev and the Context of English Literature examines the cultural outlook in the Anglo-Saxon world in the second half of the nineteenth century by looking at the reception of Turgenev's work during the period. By analysing the timing and quality of the contemporary English translations of Turgenev's work, and his influence on the work of a number of writers including Henry James and George Gissing, Glyn Turton charts the development of contemporary cultural and moral attitudes.
eBook
Blacks, Reds, and Russians
One of the most compelling, yet little known stories of race relations in the twentieth century is the account of blacks who chose to leave the United States to be involved in the Soviet Experiment in the 1920s and 1930s. Frustrated by the limitations imposed by racism in their home country, African Americans were lured by the promise of opportunity abroad. A number of them settled there, raised families, and became integrated into society. The Soviet economy likewise reaped enormous benefits from the talent and expertise that these individuals brought, and the all around success story became a platform for political leaders to boast their party goals of creating a society where all members were equal.In Blacks, Reds, and Russians, Joy Gleason Carew offers insight into the political strategies that often underlie relationships between different peoples and countries. She draws on the autobiographies of key sojourners, including Harry Haywood and Robert Robinson, in addition to the writings of Claude McKay, W.E.B. Du Bois, and Langston Hughes. Interviews with the descendents of figures such as Paul Robeson and Oliver Golden offer rare personal insights into the story of a group of emigrants who, confronted by the daunting challenges of making a life for themselves in a racist United States, found unprecedented opportunities in communist Russia.
eBook
The Russian
\"After the break-up of the Soviet Union, some of the most hardened and capable criminals came to the United States. Over the past two decades, they have created a vicious and fearless underworld, breathtaking in its violence, disturbing in its efficiency, and destructive to society at large. With conventional law enforcement methods unable to stem the tide, the President issues top secret Executive Order 12-4b3 creating a small, deadly team to take on this fight behind the scenes--a kill team. The head of the CIA's Special Operations Group, Billy Cosgrove, is picked to head this group and he, in turn, asks Rob Tacoma to be his deputy. Rob Tacoma--former Navy SEAL and former CIA agent--has a special reason to agree. Tacoma was raised by his grandparents after his own parents were killed by the Russian mafia. But before Tacoma can even start, Billy Cosgrove is found murdered in his own home, as a warning from the Russian mafia itself. Now Tacoma is in charge of the team and they have their first mission, to achieve the near impossible: find and neutralize the mob boss behind Billy Cosgrove's death. To do so means taking on practically an army in a battle where there are no rules and no limits.\"--Publisher.
BOOK
Scenes of Encounter: The “Soviet Jew” in Fiction by Russian Jewish Writers in America
This essay analyzes early twenty-first-century English-language literature by Soviet-born Jewish writers as a response to the Jewish literary and cultural politics of the Cold War period. First, by reexamining the postcolonial concept of hybridity, it argues that the “Soviet Jew” is not a neutral description of a Jewish person from the USSR. Rather, it is a discursive product that emerged during the Soviet Jewry Movement, a figure who requires reeducation, specifically of a religious nature, as part of advocacy by Jews in the West on behalf of Jews in the USSR. Second, it analyzes texts by Elie Wiesel, Bernard Malamud, and Chaim Potok that have become part of the North American Jewish literary canon with a focus on these works' scenes of encounter between Jews in the USSR and Jewish writers visiting from abroad. These depictions specifically emphasize the visiting writers' projections of their concerns about their own Jewish identities and about Jewish continuity more broadly onto the figure of the “Soviet Jew.” Finally, it demonstrates that Boris Fishman, Anya Ulinich, and David Bezmozgis offer a contemporary restaging of such scenes of encounter, now between émigré Jews from the USSR and their Jewish hosts in North America. In these recent works, the “Soviet Jew” is a figure that can be manipulated—frequently in satirical ways—as immigrant literary protagonists navigate the process of fitting in (or, not fitting in) within North American Jewish communal landscapes created, in part, with the help of the figure of the “Soviet Jew” itself.
Journal Article
When \The Bridges of Madison County\ Came to Moscow
Of all the cultural tools used by the United States Information Agency (USIA) to promote public diplomacy, film had a prominent role. For nearly half a century, the film division at USIA produced, distributed, and sponsored films throughout the world. It is estimated that the USIA archive included nearly 18,000 films distributed to over 150 nations in dozens of languages. They ranged widely in style (documentary, newsreel, animation, educational, and even fiction) and subject matter (social issues, biography, history, the arts, the environment, daily life in America, and sports.)
Journal Article
The houseguest : a novel
\"It is the summer of 1941 and Abe Auer, a Russian immigrant and small-town junkyard owner, has become disenchanted with his life. So when his friend Max Hoffman, a local rabbi with a dark past, asks Abe to take in a European refugee, he agrees, unaware that the woman coming to live with him is a volatile and alluring actress named Ana Beidler. Ana regales the Auer family with tales of her lost stardom and charms and mystifies Abe with her glamour and unabashed sexuality, forcing him to confront his own desire as well as the ghost of his dead brother. As news filters out of Europe, American Jews struggle to make sense of the atrocities. Some want to bury their heads in the sand while others want to create a Jewish army that would fight Hitler and promote bold, wide-spread rescue initiatives. And when a popular Manhattan synagogue is burned to the ground, our characters begin to feel the drumbeat of war is marching ever closer to home. Set on the eve of America's involvement in World War II, The Houseguest examines a little-known aspect of the war and highlights the network of organizations seeking to help Jews abroad, just as masses of people seeking to escape Europe are turned away from American shores. It moves seamlessly from the Yiddish theaters of Second Avenue to the junkyards of Utica to the covert world of political activists, Jewish immigrants, and the stars and discontents of New York's Yiddish stage. Ultimately, The Houseguest is a moving story about identity, family, and the decisions that define who we will become\"-- Provided by publisher.
Book
Representations of Refuseniks and Soviet Jewish Emigration in GLOW: Gorgeous Ladies of Wrestling
Liz Flahive and Carly Mensch's Netflix series, GLOW (2017—), reimagines the production of GLOW: Gorgeous Ladies of Wrestling (1986—1989), the first US professional wrestling show with an all-female cast. The Netflix series can be understood as historiographic metafiction: a reimagining of the past that captures a new perspective enlightened by hindsight. In season 1, episode 6, “This Is One of Those Moments,” Ruth Wilder (played by Alison Brie) unwittingly attends an unconventional bris thrown by Soviet Jews and refuseniks who have resettled in Los Angeles in the 1980s. Ruth constantly misreads and misinterprets the people and situations around her. Her subsequent misunderstanding is rendered comically and serves as a symbol for postmodern disorientation. Executive producer and guest writer Jenji Kohan incorporates mockery, ridicule, and hyperbole in a display of the self-deprecating, self-critical, and dark elements of Jewish humor in representing the position of refuseniks and Soviet Jewish émigrés in the United States. Engaging with diverse theories on Jewish humor in postmodern television, this article focuses on the relationship between suffering and celebration, intention and reality, and ancient ritual and modernity. This one episode epitomizes how these elements are performed and represented, forcing the audience to question what is genuine and what is forced or fake. Despite the characters' best efforts to attain authenticity, they continue to struggle to understand, belong, and interpret the cultures surrounding them.
Journal Article