Sofya Khagi’s Pelevin and Unfreedom: Poetics, Politics, Metaphysics is the first book-length English-language study of Victor Pelevin, one of the most significant and popular Russian authors of the post-Soviet era. The text explores Pelevin’s sustained Dostoevskian reflections on the philosophical question of freedom and his complex oeuvre and worldview, shaped by the idea that contemporary social conditions pervert that very notion. Khagi shows that Pelevin uses provocative and imaginative prose to model different systems of unfreedom, vividly illustrating how the present world deploys hyper-commodification and technological manipulation to promote human degradation and social deadlock. Rather than rehearse Cold War–era platitudes about totalitarianism, Pelevin holds up a mirror to show how social control (now covert, yet far more efficient) masquerades as freedom and how eagerly we accept, even welcome, control under the techno-consumer system. He reflects on how commonplace discursive markers of freedom (like the free market) are in fact misleading and disempowering. Under this comfortably self-occluding bondage, the subject loses all power of self-determination, free will, and ethical judgment. In his work, Pelevin highlights the unprecedented subversion of human society by the techno-consumer machine. Yet, Khagi argues, however circumscribed and ironically qualified, he holds onto the emancipatory potential of ethics and even an emancipatory humanism.

Companion to Victor Pelevin, a collaborative undertaking by a group of emerging Russianist scholars, focuses on the work of one of the most important and hotly debated post-Soviet writers. It provides a valuable resource to scholars, teachers, and students, including how best to teach Pelevin to university-level students, and which critical debates invite further investigation. The contributors offer new readings of Pelevin texts that cover a broad time span and pay due attention to the philosophical and aesthetic complexities of Pelevin’s oeuvre in its development from the early post-Soviet years to the second decade of the present millennium. Examining all of Pelevin’s major works and all Peleviniana currently available in English, the Companion aims to prompt further inquiry into this author’s intellectually stimulating and socially prescient work.

This volume is a comprehensive Handbook of Russian thought that provides an in-depth survey of major figures, currents, and developments in Russian intellectual history, spanning the period from the late eighteenth century to the late twentieth century. Written by a group of distinguished scholars as well as some younger ones from Russia, Europe, the United States, and Canada, this Handbook reconstructs a vibrant picture of the intellectual and cultural life in Russia and the Soviet Union during the most buoyant period in the country's history. Contrary to the widespread view of Russian modernity as a product of intellectual borrowing and imitation, the essays collected in this volume reveal the creative spirit of Russian thought, which produced a range of original philosophical and social ideas, as well as great literature, art, and criticism. While rejecting reductive interpretations, the Handbook employs a unifying approach to its subject matter, presenting Russian thought in the context of the country's changing historical landscape. This Handbook will open up a new intellectual world to many readers and provide a secure base for its further exploration.

Silence and the Rest argues that throughout its entire history, Russian poetry can be read as an argument for "verbal skepticism," positing a long-running dialogue between poets, philosophers, and theorists central to the antiverbal strain of Russian culture.

When Fyodor Dostoevsky proclaims that he is a "realist in a higher sense," it is because the facts are irrelevant to his truth. And it is in this spirit that Apollonio approaches Dostoevsky’s work, reading through the facts--the text--of his canonical novels for the deeper truth that they distort, mask, and, ultimately, disclose. This sort of reading against the grain is, Apollonio suggests, precisely what these works, with their emphasis on the hidden and the private and their narrative reliance on secrecy and slander, demand. In each work Apollonio focuses on one character or theme caught in the compromising, self-serving, or distorting narrative lens. Who, she asks, really exploits whom in Poor Folk? Does "White Nights" ever escape the dream state? What is actually lost--and what is won--in The Gambler? Is Svidrigailov, of such ill repute in Crime and Punishment, in fact an exemplar of generosity and truth? Who, in Demons, is truly demonic? Here we see how Dostoevsky has crafted his novels to help us see these distorting filters and develop the critical skills to resist their anaesthetic effect. Apollonio's readings show how Dostoevsky's paradoxes counter and usurp our comfortable assumptions about the way the world is and offer access to a deeper, immanent essence. His works gain power when we read beyond the primitive logic of external appearances and recognize the deeper life of the text.

Only Among Women reveals how the idea of a community of women as a social sphere ostensibly free from the taint of money, sex, or self-interest originated in the classic Russian novel, fueled mystical notions of unity in turn-of-the-century modernism, and finally assumed a privileged place in Stalinist culture, especially cinema.

In The Lem Reader, Peter Swirski has assembled an in-depth and insightful collection of writings by and about, and interviews with, one of the most fascinating writers of the twentieth century.