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Lenin’s Century


Vladmir Tismaneanu, The Devil in History:
Communism, Fascism and Some Lessons of the Twentieth Century 

             The sub-title of this book should be a tip off that Valdimir Tismaneanu is wrestling with arguably the most critical question in 20th century European history: how did so much of the continent, where the Enlightenment two centuries previously had provided the blueprint for democratic governance based on religious tolerance and respect for individual rights, stray so far from the Enlightenment’s ideals? In The Devil in History: Communism, Fascism and Some Lessons of the Twentieth Century, Tismaneanu locates the answer in 20th century communism, from its inception quite simply a “criminal system” (p.69), he writes. Tismaneanu’s searing critique hones in on the impact of Bolshevik and Leninist thinking throughout the 20th century, and describes the rethinking that went on in Eastern Europe after the Berlin Wall fell in 1989, when most of the countries of the former Communist bloc committed themselves to democratic governance.

            A professor of political theory at the University of Maryland and Director of the University’s Center for the Study of Post-Communist Societies, Tismaneanu is a native of Romania brought up under the odious regime of Nicolae Ceaușecu, and thus knows more than a thing or two about how totalitarian governments operate. Tismaneanu indicates in his Forward that he was born after World War II to “revolutionary parents who had embraced anti-Fascist Communist values” (p.ix). His father fought with the International Brigades in the Spanish Civil War in the 1930s, losing an arm, while his mother served as a nurse in that conflict. At age 14, Tismaneanu started to think about the implications of communism after a chance reading of a clandestine copy of Arthur Koestler’s Darkness at Noon.

            The book’s cover contains an ingenious photo of Stalin and Hitler staring at one another. If you’re talking about the devil in history, you’ve got to start with these two guys, right? Actually, an argument could be made that neither should be on the cover. Despite its sub-title, the book is only secondarily about Fascism and Nazism, emphasizing primarily how, despite ideological differences, they were influenced by the communist model. Moreover, it would have made way more sense to put Vladimir Lenin on the cover rather than Stalin. Stalin in Tismaneanu’s analysis was a ruthless implementer who “carried to an extreme Lenin’s intolerant logic” (p.230). But Lenin was the devil in 20th century European history – “the twentieth century was Lenin’s century” (p.90).

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            Tismaneanu describes Leninism (or Bolshevism; Tismaneanu uses these terms inter-changeably) as a “self-styled synthesis between Marxian revolutionary doctrine and Russian tradition of nihilistic repudiation of the status quo” (p.90). If there had been no Lenin, he goes on to contend, “there would have been no totalitarianism – at least not in its Stalinist version. The October 1917 Bolshevik putsch . . . was “the event that irreversibly changed the course of Western civilization and world history” (p.92). Thanks to Lenin, a “new type of politics emerged in the twentieth century, one based on elitism, fanaticism, [and] unflinching commitment to the sacred cause” (p.90). Leninism was “inherently inimical to political liberties. It is not an accidental deviation from the democratic project but its logical, direct and unequivocal antithesis” (p.120).

            Leninism was rooted in Enlightenment, with its focus on reason and progress. Leninists “knew how to pose as the heir to the Enlightenment, and many were duped by this rationalistic and humanistic pretense” (p.46). But Leninism was equally rooted in Marx’s theories of transformation and the Russian anarchistic revolutionary tradition, with its “utilitarian nihilism and a quasi-religious socialist vision of the transformation of mankind” (p.112), a tradition which Steven Marks described in How Russia Shaped the Modern World: From Art to Anti-Semitism, Ballet to Bolshevism, reviewed here in December. Lenin took Marx’s broad theories and emphasized the “organizational element as fundamental to the success of revolutionary action” (p.97). Leninism was precisely the type of utopianism which Isaiah Berlin abhorred, sanctifying “ultimate ends, and thus the creation of an amoral universe in which the most terrible crimes could be justified in the name of a radiant future” (p.70). More than a revolutionary response to the inequities of the Tsarist state and the injustices of capitalism, Leninism was an “experiment in ideologically driven, unbounded social engineering” (p.30). Never was a political doctrine “so ambitious, never a revolutionary project so much imbued with a sense of prophetic mission and charismatically heroic predestination” than Leninism (p.90), Tismaneanu concludes.

            Lenin’s diabolical influence extended to both Hitler and Mussolini. In times of moral and cultural disarray, Tismaneanu argues, Communism and Fascism can “merge into a baroque synthesis. Communism is not Fascism, and Fascism is not Communism. Each totalitarian experiment had had its own irreducible attributes, but they shared a number of phobias, obsessions, and resentments that could generate toxic alliances, like the Nazi-Soviet Pact of 1939” (p.x). The party played a different role under the two regimes. Under Communism the party leader incarnated the wisdom of the party, whereas under Fascism and Nazism the party was entirely secondary to the leader as the charismatic center of power. Fascism and Nazism also lacked the recurring party purges and show trials of the ruling elite as a “mechanism of mobilization, integration, and scapegoating” that characterized Communist regimes (p.53). Nonetheless, the ideologies of Communism and Fascism held in common a “belief in the plasticity of human nature and the possibility of transforming it in accordance with a utopian blueprint” (p.162). Both “identified with the revolution as an irreversible moment breaking with the past and creating a totally new world” (p.118). The two movements were alike in being “essentially and unflinchingly opposed to democratic values, institutions and practices” (p.21) – the “antithesis of the Western humanist legacy” (p.62).

            By the end of Khrushchev’s rule in the fall of 1964, both in the USSR and Eastern Europe, it was clear that reform within party-defined boundaries had “ceased to be a viable option”( p.136). Tismaneanu sees 1968 as a pivotal year, during which Eastern Europe saw an “explosion of post-revolutionary skepticism,” setting in motion forces that led to the “gradual decomposition of the Communist regimes” (p.142). Futile attempts to find ways of reforming Communism from within were replaced by an emphasis upon human dignity and the inviolability of human rights. The soul of Communism died in Prague in August 1968, Tismaneanu concludes. From that year onward, Communism in the Soviet Union and Eastern Europe was a spent force, with stagnation and immobility becoming its main characteristics.

          If the Communist soul died in 1968, its emaciated body survived until 1989. The changes which Europe underwent that year start with Mikhail Gorbachev. Tismaneanu regards Gorbachev as a “genuine Marxist revisionist, who, while paying lip service to Lenin’s iconic figure, moved away from Bolshevism as a political culture based on fanaticism, sectarianism, and volunteerism toward a self-styled version of Marxist revisionism” (p.145-46). Gorbachev tried to offer “antidotes to the rampant pathologies of cynicism, corruption and cronyism,” but was “utterly confused as to how to bring about political pluralism while sustaining state socialism” (p.153). Gorbachev’s version of Marxist revisionism was directly inspired by Eduard Bernstein’s evolutionary socialism, but he was “unable to fully abandon the outworked Leninist model, desperately searching for ‘socialism with a human face,’ torn between nostalgia for old ideals and the tragic awareness of their hollowness” (p.153). Neither a neo-Menshevik nor a Western-style Social Democrat, Gorbachev remains the “last and most influential of those East European Leninist leaders who tried to humanize an inherently inhuman system” (p.153).

            Twenty-five years after the changes of 1989-91, pluralism seems to have settled solidly throughout the former Eastern European Communist bloc, Tismaneanu argues, with democratic practices widely recognized, accepted and practiced. The revolutions of 1989-91 dealt a mortal blow to the “ideological pretense according to which human life can be structured in accordance with scientific designs proposed by a general staff of revolutionary doctrinaires” (p.171). Tismaneanu emphasizes the centrality of civil society to the success of the 1989 transformation, replacing the existing political, social, and economic system with one “founded on the ideals of democratic citizenship and human rights” (p.223). The core value restored, cherished and promoted by the revolutions of 1989 was “common sense. The revolutionaries believed in civility, decency, and humanity, and they succeeded in rehabilitating these values” (p.223). In so doing, they also managed to bring about the “rebirth of citizenship, a category abolished by both Communism and Fascism,” which also involved “re-empowering the truth” (p.221). What we have learned from 1989, Tismaneanu concludes, represents an “unquestionable argument in favor of the values that we consider essential and exemplary for democracy today” (p.221).

             Still, Tismaneanu cautions, a “residual Bolshevism” (p.114) lingers in the formerly Communist world, certainly in Russia and many of the states of the former Soviet Union. In Russia, Vladimir Putin has instituted a regime euphemistically termed “managed democracy,” an “increasingly aggressive version of neo-Stalinist and neo-imperialist restoration” (p.218). But even in Eastern Europe, the “utopian reservoir of humanity has not been completely exhausted: refurbished ideologies have resurfaced, among them populism, chauvinism, and fundamentalism of different shades” (p.164-65). Communism’s demise has given rise to “disenchantment, dispirited political cultures, the rise of new collectivisms, marginalization of former heroes, and the return of former Communists” (p.194). In brief, the “battle for the soul of man after Communism has not ended” (p.205).

* * *

            As perceptive as Tismaneanu’s insights are, as critical as his subject matter is, a few caveats are in order before you rush out and plunk down something like $20 for the paperback edition of his book. Tismaneanu’s prose is often dense, bordering on turgid. It is riddled with sentences such as: “The disintegration of the Stalinist gnosis as a key self-sufficient system of authoritarian norms and quasi-mystical precepts impelled revisionist intellectuals toward the construction of what Kolakowski called an agnostic Marxism, actually a quixotic attempt to salvage the humanistic kernel of the doctrine lest the whole Marxist utopia fall apart” (p.177); and “The theoretical manifestations of these undercurrents provided a new semantic horizon, the coalescence of a new emotional and intellectual infrastructure that was translated into a resurgence of repressed philosophical topics, above all humanism as a privileged metaphysical concern” (p.134).

           To be sure, the nuances of Marxist thinking and applications of Communist theories do not always lend themselves to crackling prose. Further, English is not Tismaneanu’s native language, and he has my full admiration for establishing a distinguished career and earning numerous academic distinctions in an acquired rather than native language. This is by itself a remarkable achievement. But some writers achieve genuine fluency and elegance writing in an acquired language. Valdimir Zubok, whose book Zhivago’s Children I reviewed here in November 2012, is one example. Tismaneanu is not there yet (incidentally, Tismaneanu frequently cites Zubok’s work).

            Further, Tismaneanu over-relies on quotations from other works. For example, the following string of quotations is contained entirely on a single page, page 103:

. . .as A.E. Rees showed. . .To paraphrase Eugen Weber. . .as the Catholic intellectual Adolf Keller wrote. . . as sociologist Michael Mann underlines. . . As Lesek Kolakowski puts it. . .. Paul Berman explains . . .

           There is of course nothing wrong with one author occasionally quoting another’s work – it is way better than using another’s words without quoting the other writer. The over-reliance on quotations is a common characteristic of too many college term papers and university dissertations. An author writing for general readers should be providing primarily his or her own thoughts, not those of other writers.

* * *

            Born and raised in a particularly virulent form of Communism in Romania, Vladimir Tismaneanu has a wealth of insight to offer readers on the implications of that and other repressive systems of government. But this book, while treating an enticing and still-critical subject, is unlikely to gain the affection of most general readers.

Thomas H. Peebles
Cotonou, Benin (West Africa)
February 21, 2015

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Filed under Eastern Europe, European History, Intellectual History, Political Theory, Politics, Soviet Union, Uncategorized

Soul Reaction


Steven Marks, How Russia Shaped the Modern World:
From Art to Anti-Semitism, Ballet to Bolshevism 

                   From the autocracy of the Tsars to the totalitarianism of Stalinist communism, and on to the authoritarianism of Vladimir Putin, over the last two centuries, Russia (and the Soviet Union, when it existed), have charted a path politically well removed from that of the democracies of Western Europe and North America. But if Russia has been depressingly resistant to the democratizing currents of the West, I have always assumed and never doubted for a moment that Russia was a indispensable part of European culture, a huge contributor to its every aspect, literature and art, music and dance and more. Steven Marks’ “How Russia Shaped the Modern World: From Art to Anti-Semitism, Ballet to Bolshevism,” which first appeared in 2003, did not dispel that assumption but added a new twist to my understanding of Russia’s contribution to both European and world culture.

               Marks, a Russian history specialist at Clemson University, argues that since the late 19th century, Russians have shaped the modern world by leading the reaction to it. Throughout this period, Russian art and literature, as well as its politics, have had the common characteristic of being in opposition to the liberal, individualistic, capitalist ethos of the West. Marks characterizes these tendencies across diverse areas as “rejectionism,” frequently encapsulating them in an elusive notion termed the “soul of Russia.” There was, he writes, a “perception of tsarist Russian and Soviet thought as Eastern and exotic, which made it especially appealing beyond the empire’s borders. This was the strain of ‘Orientalism’ that was embraced as an antidote to modern civilization” (p.4). This theme runs through his analyses of Russian anarchistic 19th century political thought, literature – especially the giants Dostoevsky and Tolstoy – anti-Semitism, dance, visual arts and music. He finishes with the Leninist Bolshevik project. On each topic, Marks shows Russian influence throughout the world; he does not limit his study to Western Europe and North America.

               Marks writes for the general reader. His scope is breathtakingly broad, with a dizzying series of short portraits of Russian luminaries in each of the areas he treats. Experts may contend that he overstates or oversimplifies the extent and nature of Russian influence in some of these areas. But readers wishing to consider a different perspective on the soul of Russia and the Russian contribution to world thinking and artistic expression should find the book highly engaging.

* * *

                Marks starts with the Russian anarchists of the late 19th century and finishes with those pesky Bolsheviks who took the reins of power in 1917 and set Russia off on a nearly 75-year experiment known as the Soviet Union. The opening chapters on Russian anarchism were for me the book’s most captivating. Anarchism was a branch of socialism that arose in Western Europe in the mid-nineteenth century as a “combined legacy of the Enlightenment belief in the perfectibility of humankind and the Romantic fervor for noble savages and stormy rebelliousness” (p.7), Marks writes.

          By the 1860s, Russia had become the acknowledged international leader of the anarchist movement and its opposition to state power and bourgeois industrialism, the “ills of which were often . . . more apparent than the benefits” (p.7). Anarchism was the “first Russian intellectual movement to have a significant international impact. Its glorious promises for society’s future electrified followers around the world, and the organizational and killing methods developed by Russian revolutionary adherents to fight the tsarist regime marked the birth of modern terrorism” (p.7).

            The most prominent of the anarchists were Mikhail Bakunin and Peter Kropotkin.  Although Bakunin and his followers were atheists, Bakunin “worshipped the peasant masses as the vessels of the Absolute” (p.10). Bakunin thus tapped into the soul of Russia cult, infusing his ideas with “spiritual yearning and secular ideological substitutes for religiosity . . . Religious messianism was transferred to the revolutionary movement, a process Bakunin embodied” (p.8). Freedom for Bakunin was a “mystical notion” derived from Russian Orthodox metaphysics which “required not the preservation of individualism bur rather its total dissolution in a collective form of unity that would free humankind from the suffering brought on by the selfish competitiveness of the capitalist bourgeoisie” (p.11).

                Bakuninst anarchism went on to become an important rejectionist force in Italian politics from the 1870s to the 1920s. Gavrilo Princep and his fellow Serbian ultra-nationalists fed on Russian conspiratorial-revolutionary-anarchist literature. Poles, Armenians, Macedonians and Serbs formed the earliest organized terrorist movements outside Russia to serve the cause of national liberation. Political terrorism came to be known as the “Russian method.” Although anarchism sought to shield the individual from the depredations of state power, Bakunin was a “closet authoritarian who thought a dictatorship was necessary to organize the future communal society” (p.11).

          Although less well known than Bakunin, Kropotkin was more eccentric and offered a far softer version of anarchism. Kropotkin challenged the understanding of Thomas Malthus and Charles Darwin of competitive relations between and among species. For Kropotkin, nature is not a struggle between individuals, but a “struggle between individuals and the environment.” The fittest are not the strongest, but “those who have learned to live cooperatively” (p.41). Kropotkin’s utopian solution relied on the Russian peasant commune as the “prototype of the ideal form for the future organization of humanity” (p.42). Kropotkin’s slogan was “to every man according to his needs,” and he called his program “anarchist communist” because of its emphasis upon cooperative organization.

                  Kropotkin’s communitarian vision gave rise to certain strains of Western urban planning in the 1920s, such as creation of garden cities and back-to-the-land alternatives to city life, and foreshadowed the contemporary ecological movement. Kropotkin’s radical ideas even account “partially” for the “ancestry of certain features of the modern American suburban landscape” (p.48), Marks asserts. When Kropotkin died, his funeral was the occasion for the “last mass demonstration against Bolshevism” (p.53).

         Many leftist intellectuals projected their anarchist, pro-peasant soul-of-Russia views onto the Bolshevik Revolution. Few “understood that Lenin and Trotsky were autocratic. Most believed that the Bolshevik leaders were implementing the decentralizing, anarchist agenda that had long been recognized as the hallmark of Russian radicalism” (p.284). With good reason, then, those on the outside often saw little difference between Russian anarchism and Bolshevism. Marks shows how Lenin used ideas drawn from the anarchists when useful to him. Stalin, for his part, added a “theocratic and Russian chauvinist imprint to Soviet official culture” (p.279).

               Marks treats the familiar and always fascinating theme of the early Western attraction to the Soviet experiment. Carrying forward prerevolutionary stereotypes of “soulful Russia as a repository of Eastern wisdom and collectivism” (p.282), Western intellectuals were surprisingly “prone to messianic delusions,” with an “astonishing capacity for fooling themselves” (p.285-86). Upon reviewing Stalin’s industrialization efforts, John Dewey commented that he felt, “as if for the first time the moving spirit and force of primitive Christianity” (p.285). British socialists Sidney and Beatrice Webb lauded the “entirely ‘new civilization’’ which Stalin was in the process of creating, with a “truly democratic system of representation” (p.285), while George Bernard Shaw insisted that Stalin was “simply secretary of the supreme controlling organ of the hierarchy, subject to dismissal at ten minutes’ notice if he does not give satisfaction” (p.286).

         Marks finishes with a chapter on the influence of Russian Bolshevism outside the Soviet Union, mostly a discussion of the degree to which lesser developed countries adopted the Russian model of socialism. In the years immediately following the Bolshevik revolution, intellectuals from what came to be known as “Third World,” “reacting to their own countries’ trauma in the throes of modernization or imperialism, were similarly attracted to Russian culture and ideology. They, too, perceived Russia, despite a thin European veneer, as being non-Western, and thus close in spirit to their own experiences” (p.4-5).

                The chapter on Russian anti-Semitism is extremely dark. To a surprising degree, Marks argues, 20th century European anti-Semitism was a Russian import. By the end of the 19th century, Russia had the world’s largest Jewish population, and anti-Semitism was stronger in Russia than in the West. Tsarist Russia maintained an apartheid-like regime, buttressed by Jim Crow legislation and recurrently violent anti-Jewish pogroms in the years leading up to the 1917 Revolution. In late 19th century Russia, Jews were perceived as the “quintessentially evil representatives of modernity, whether as financiers, traders or revolutionaries” (p.140). The Protocols of the Elders of Zion, the basic text in anti-Semitism, was a Russian product. The Protocols, whose precise origins are still uncertain, were “purportedly the secret resolutions of international Jewish leaders, a game plan for the domination of the world and enslavement of the goyim – Yiddish for Gentiles” (p.149). The Protocols were at the foundation of “all Nazi anti-Semitic belief and rhetoric,” helping to “extinguish lingering good will toward the Jews, and . . . to rationalize their annihilation” (p.170).

             Militantly anti-capitalist and rabidly anti-Semitic Russian organizations came to be known at the Black Hundreds. Marks characterizes the rise of the Black Hundreds as a “transitional phase in the history of the European right between old-fashioned reactionary movements and dynamic modern fascism” (p.148). The Russian extreme right formulated major strains of Nazism and fascism at least a decade before these phenomena appeared in Western Europe, Marks contends, forging an “alliance of old elites and resentful masses” (p.148). Its “radical rejectionism; its reliance on violence as its chief political tool; and its demagogic anti-Semitism all anticipated the future fascist movements of France, Germany and Romania” (p.148).

              Marks’ chapters on Fydor Dostoevsky and Leo Tolstoy provide good comparisons between the two, and demonstrate the enormous influence of each beyond Russia’s borders. Dostoevsky’s focus on the complexity of human psychology and man’s irrationality established him as one of the 19th century’s deepest but darkest thinkers. Dostoevsky’s world view was based on what Marks terms a “holy trinity” of individual freedom, orthodox Christianity, and Russian nationalism. For Dostoevsky, Western rationalism had produced a “cold, unloving kind of devotion to humanity that often concealed an abhorrence of human beings as individuals” (p.62). Freedom for Dostoevsky was an inner, spiritual matter, not a “juridical or constitutional problem,” embracing a “Christ like spirituality that overcomes man’s fractured and wounded personality, through love, brotherhood, and community” (p.65). Dostoevsky transformed the soul-of-Russia sense of uniqueness into a “strident and hostile anti-Western credo — despite his intellectual engagement with European philosophy and literature” (p.65).

             Dostoevsky’s work fit well with the late 19th century European interest in individual psychology and the irrational. He had a huge impact upon Sigmund Freud, whose ancestors had migrated to Austria from Russia. Freud found that Dostoevsky had captured the psyche if not the soul of Russians, who, as Freud saw them, were inclined to “ascetic mysticism, chauvinism, fanaticism, violence, and other ‘compromise[s] with morality’” (p.72). In the first decades of the 20th century, Dostoevsky’s popularity in Europe soared, nowhere more than in Germany, where he gained the dubious distinction of being the Nazis’ favorite non-German writer.

                  Tolstoy, described as “genius and crank” (p.102) by Ivan Turgenev, another 19th century Russian literary giant, sought to simplify Christianity and reduce it to what he considered its core values. He promulgated a version of Christianity that didn’t have much to do with Russian Orthodoxy or any other institutional form of Christianity. Marks characterizes Tolstoy’s religious outlook as “Christian anarchism,” another strain of Russian rejectionism that attracted a global following at the turn of the century. Tolstoy’s entire body of writing “reeks of contempt for Western capitalism, materialism, parliamentary democracy, law and constitutionalism” (p.105), Marks writes. Through his fictional and theological portrayals of the peasant, Tolstoy “contributed to the international image of the Russian soul as the antipode of the rationalizing, industrializing West” (p.109).

             Tolstoy fashioned a lifestyle that foreshadowed 1960s hippies. He became one of the first advocates of vegetarianism. Among those attracted to his views and life style was an obscure Indian lawyer practicing law in Durban, South Africa, Mahatmas Gandhi. Gandhi’s reading of Tolstoy was a critical step in his transformation as liberator of the Indian people. By 1900, Tolstoy was a recognized voice against American racism. He was one of the first international mass-media celebrities, a role he relished, curiously enough, and one that befitted a man who helped usher in the modern world even as he struggled against it.

                   In his chapters on music, dance and painting, Marks shows how in each domain, the major Russian artists were in some sense reacting to Western modernism. Marks starts with Sergei Diaghilev, publisher of The World of Art, a journal which, with its initial appearance in 1898, marked the beginning of the Russian Modernist movement. Diaghilev and his associates fostered a “discriminating love of music, dance, and painting alongside scorn for what they saw as the stagnant Russian art of the day. They yearned for the revival of Russian art as a bulwark against the dominance of western European, bourgeois culture” (p.177). Diaghilev combined ambivalence toward the West with “massive expectations of Russian culture. He was at bottom a Russian nationalist whose purpose was not to Europeanize domestic art but to remedy its effects through exposure to contemporary trends” (p.179).

                Diaghilev created the dance company “Ballets Russes.” Ballet for Diaghilev and his followers was a “non-descriptive and suggestive means of means of expressing pure emotion” (p.180). The essence of Ballets Russes, according to Diaghilev, was its “elemental spontaneity. We wished to find an art through which all the complexity of life, all feelings and passions, could be expressed apart from words and ideas – not rationally but elementally” (p.181). The Ballets Russes “opened the door to the embrace of an array of exotic, lower class and foreign music and dance impulses” (p.200). Ballets Russes never performed in Russia owing to official ostracism of Diaghliev before 1917 and Diaghilev’s hatred of communism afterwards.

                    Meanwhile, Russian artists “ceaselessly pushed the limits of artistic firmament” (p.228). Vasily Kandinsky was Russia’s primary “practitioner and theorist of abstractionism,” which reflected a common view among avant garde Russian artists that painting could replicate the psychological effect of music or poetry and vice-versa. Russian abstractionism shared with Russian antecedents an “anti-modern sense that Western Civilization had gone tragically awry. Humanity required radical aesthetic and political measures to reduce it, namely their brand of abstract painting plus socialism or anarchism” (p.270).

               Marks emphasizes the “global adaptability” of the Russian avant-garde forms of artistic expression. Like Russian anarchists, writers, visionaries and anti-Semites, the Russian avant-garde “appeared as wise men of the East offering access to higher truth” (p.274). Rooted in mysticism, messianism, and anti-Westernism, Russian visual arts, dance and theatre “rejected industrial-bourgeois existence and sought to remake society anew” (p.274). But the obvious irony was that these artists’ legacy was to be found in “realms of mass culture such as Hollywood movies, fascist propaganda, and Western commercial advertising” (p.176), with individualistic and capitalist audiences avidly pursuing their works.

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                 Marks indicates at the outset of his sweeping and exuberantly written work that Russian intellectual and artistic life has always had a “close and symbiotic relationship with the West” (p.6), with the Russian thinkers and artists he discusses influenced in differing degrees by European counterparts as well as influencing them. Nonetheless, his book could be criticized for its “one way street” effect, the sense that there was little cross-fertilization, little positive absorption of Western lines of thought and artistic expression in Russia – only reaction to decadent capitalist and individualistic Western models.  Specialists might also criticize the book for trying to pack too much into the notion of Russian rejectionism and the soul of Russia. The American suburban landscape would likely have taken its present form even had Peter Kropotkin died in early childhood, for example; and Fascism and anti-Semitism hardly needed Russian models to thrive in Germany, France, and Italy. But Marks deserves credit for creative thinking across a wide range, bringing highly diverse subject matters together into an intriguing conceptual framework.

Thomas H. Peebles
Cotonou, Benin (West Africa)
November 22, 2014


Filed under European History, Intellectual History, Soviet Union