The Eurasian Knot

On the night of 27 February 2015, assassins gunned down Boris Nemtsov as he crossed the Bolshoi Moskvoretskii Bridge. Shock quickly spread throughout Russia, particularly among its political opposition. Not because Nemtsov was so brazenly gunned down. Such are the risks of being politically active in Putin’s Russia. Nemtsov had been a fixture in the movement since its earliest days, and in many ways one of its founders. That such an internationally well-connected figure could be wiped out in central Moscow signaled a grim turning point. Hindsight has proven this correct. A decade later, Russia is a very different place. But it always wasn’t like that. In the 1990s, Nemtsov was a young liberal darling, the charismatic hope to succeed Boris Yeltsin. That didn’t happen, as we all know. And another, totally different figure became President. As Mikhail Fishman writes in his political biography, The Successor: Boris Nemtsov, Vladimir Putin, and the Decline of Modern Russia, Nemtsov’s life and death had a profound influence on the political consciousness of his generation and nascent Russian liberalism. Who was Boris Nemtsov? How did he rise so quickly to political prominence in the 1990s only to be politically marginalized in the 2000s? Why was he murdered and who murdered him? The Eurasian Knot spoke to Fishman about Nemtsov, his life, and how it reflected Russia’s post-Soviet political development.

Guest:

Mikhail Fishman is one of Russia’s leading independent journalists, liberal thinkers, and political commentators. He’s the author of The Successor: Boris Nemtsov, Vladimir Putin, and the Decline of Modern Russia published by Penguin.

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I met the graphic artist, Victoria Lomasko, about 10 years ago when she was a resident at the City of Asylum in Pittsburgh. I emceed an event with her back then. So I was happy when Victoria recently returned to the city to give a few talks at the University of Pittsburgh. Of course, the Eurasian Knot dragged her into a studio for an interview. A lot has changed for Victoria over the decade. Her graphic novel, Other Russias, represented the marginals of Russian society, and she won a Pushkin prize for the work. She got invited to speak, to show her art, and teach. She then went to Belarus to chronicle the mass protests. More art. More shows. But then Russia invaded Ukraine in 2022. The invites dried up as everything Russia became toxic. And political art forced her into exile in Germany. These experiences have caused her to question the efficacy of political art, and even her graphic style. Today, she’s embraced symbolic art that speaks to her political disillusion and difficulty in representing our current conjecture. Where does Lomasko stand today when it comes to art and politics? Tune in and find out.

Guest

Victoria Lomasko is a graphic artist and has lectured and written widely on graphic reportage. She lived in Moscow until March 2022 and now lives in exile. She is the author of Other Russias which received the Pushkin House Best Book in Translation award. Her latest book is The Last Soviet Artist published by N+1 Books

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When I opened Facebook this morning, as I do every morning, I learned that Alexander Rabinowitch died at 91 years old. Rabinowitch was arguably one of the most important historians of the Russian Revolution. It's hard to state how much Rabinowitch's work influence our understanding of 1917. Before him, it was assumed that the Bolsheviks were a highly disciplined, unpopular political party that came to power through a coup. What Rabinowitch repeatedly showed in his four books on Revolution, the Bolsheviks had popular support, most importantly in factories in Petrograd and in other large cities and at the front. Lenin's slogans, particularly, "Peace, Land, Bread!" had mass support, and by October 1917, successfully rode a wave of revolution into power.

And now that Alexander Rabinowitch has left us, I figured I’d dig out my old interview with him from 2017, clean it up, and re-release it to commemorate the life and work of this scholarly giant.

Guest:

Alexander Rabinowitch was a Professor Emeritus of History at Indiana University, where he taught from 1968 until 1999. He’s the author of four books on the Russian Revolution: Prelude to Revolution: The Petrograd Bolsheviks and the July 1917 Uprising; The Bolsheviks Come To Power: The Revolution of 1917 in Petrograd; The Bolsheviks in Power: The First Year of Soviet Rule in Petrograd; and finally his fourth and last book which was just published in April, The Bolsheviks Survive: Petrograd 1919 published by the University of Pittsburgh Press.
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How Stalin personally ran the Soviet Union has rightly received much attention. Less discussed is the small group of men that served as his top lieutenants. They carried out his orders, and after his death, were instrumental in establishing the post-Stalin order. This week, the Eurasian Knot features a discussion with Pietro Shakarian about his new book Anastas Mikoyan: An Armenian Reformer in Khrushchev's Kremlin. We mostly know Mikoyan as a statesman and political survivor who successfully navigated Stalin’s Kremlin. But who was Anastas Mikoyan beyond that? What did he believe? What was his role as Stalin’s henchman? How did he push for de-Stalinization after the leader’s death in 1953, particularly on Soviet nationality policy. Shakarian tells us that in the end, Mikoyan was more than a survivor. He was a critical player in shaping the post-Stalinist Soviet Union.

Guest:

Pietro A. Shakarian is a historian of Russia and the Soviet Union and a lecturer at the American University of Armenia in Yerevan. He’s the author of Anastas Mikoyan: An Armenian Reformer in Khrushchev's Kremlin published by Indiana University Press.
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It has long been assumed that there was no Holocaust memory in the Soviet Union. Official Soviet ideology lumped the 1.5 million Soviet Jews exterminated by the Nazis into the 26 million Soviet war deaths. So, the little Holocaust memory that existed was hidden away in families and communities. Recent scholarship, however, has painted a more complicated picture. Yes, official Holocaust memory was circumscribed. And, true, many privately commemorated its memory. But, as a new collection of Soviet Holocaust fiction, translated by Sasha Senderovich and Harriet Murav, shows that there was published Holocaust literature in the Soviet Union. Especially in the Yiddish language journal, Sovetish Heymland. How did Soviet authors treat the Holocaust? How did it differ from work elsewhere? And what are some of the challenges translating these works into English? To find out more, the Eurasian Knot spoke to Sasha and Harriet about their recent collection, In the Shadow of the Holocaust: Short Fiction by Jewish Writers from the Soviet Union, published by Stanford University Press.

Guests:

Sasha Senderovich is Associate Professor of Slavic Languages & Literatures and of International Studies at the University of Washington. He is the author of How the Soviet Jew Was Made.

Harriet Murav is Center for Advanced Study Professor Emerita at the University of Illinois, Urbana-Champaign. Her most recent book is As the Dust of the Earth: The Literature of Abandonment in Revolutionary Russia and Ukraine.

They are the translators of In the Shadow of the Holocaust: Short Fiction by Jewish Writers from the Soviet Union, published by Stanford University Press.
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