MLR, I01.3, 2oo6 9I7 rewriting such stock types as 'the fallen woman' and 'oldmaids'. More significantly, Khvoshchinskaia argued for a reconceptualization of period boundaries in literary histories, specifically in the case of the decade of the I850s, which was obscured and reduced by the political radicalism of the decades both preceding and following it. Gheith's conclusion recasts Khvoshchinskaia's prescient call for attention to the I85os as awider call for attention today to the limitations of received periodizing frameworks, and inmany respects this excellent monograph exemplifies the benefits of such an approach. Finding theMiddle Ground is notable not just for 'recovering' the writings of two important writers and critics of nineteenth-century Russia; its other, substantial achievement lies in its cogently argued challenge to received under standings of the nature and composition of 'canonical' nineteenth-century Russian literature. UNIVERSITYOF EXETER CAROLADLAM The Death of a Poet: The Last Days ofMarina Tsvetaeva. By IRMAKUDROVA. Trans. by MARY ANN SZPORLUK;intro. by ELLENDEAPROFFER.Woodstock, New York, and London: Overlook Duckworth. 2004. 232 pp. ?20. ISBN I-58567-522-9. In The Death of a Poet, a translation of Gibel' Mariny Tsvetaevoi, published by Nezavisimaia Gazeta inMoscow in I999, Irma Kudrova undertakes an exploration of Marina Tsvetaeva's last years, from her return to the Soviet Union in July I939 to her suicide in Elabuga on 3 IAugust 194I. Kudrova had access not only to private memoirs, but also to reports of the interrogations of Sergei Efron, of Tsvetaeva's daughter, Ariadna Efron, and of various of Sergei Efron's fellow secret agents that are held in the KGB archive. Kudrova's chronological account is divided into four parts. The first recounts Ma rina Tsvetaeva's reunion with her family and the time spent in the NKVD dacha that Tsvetaeva's family shared with the Klepinins, also NKVD agents, in Bolshevo. Kudrova carefully traces an atmosphere of fear and terror, owing to the arrest not only of family members such as Tsvetaeva's sister, nephew, and brother-in-law, but also that of other emigres who had worked for the Parisian Union of Repatriation. The second part, 'Liubianka', focuses on the arrests of Ariadna Efron, on 27August I939, and of Sergei Efron, on io October 1939. It contains extracts from their interrogation protocols, showing how Ariadna was brought to testify against her father and how Efron's friends and acquaintances, Nikolai Klepinin, Emiliia Litauer, and Pavel Tol stoi, equally accused him of anti-Soviet activity. In the third part, 'In the Bedlam of Nonhumans', Kudrova continues her investigation into Efron's arrest by examining his potential involvement in the Reiss affair, the murder of the former secret agent Ignats Reiss-Poretskii in Switzerland in I937, that had led toEfron's hasty departure from France. Kudrova also briefly traces the time Tsvetaeva and her son Georgii spent at the house of the Union ofWriters inGolytsino and inMoscow, documenting Tsvetaeva's desperate interventions on behalf of her family. The last part, 'Elabuga', begins with Tsvetaeva's evacuation from Moscow on 8August I94I. Here, Kudrova compares and contrasts the three existing explanations for Tsvetaeva's suicide: her sister Anastasiia Tsvetaeva's insistence that she kill herself to save her son, Belkina's hypothesis that she suffered from mental illness, and Khenkin's suggestion that she feared recruitment by the local NKVD. Even though Kudrova is not able to exclude Khenkin's version with certainty, she nevertheless argues that the NKVD played little or no part in the decision to commit suicide, invoking instead the utter despair that Tsvetaeva must have experienced in her final days. The book concludes with an appendix, containing Tsvetaeva's interrogation protocols at the French police head 9I8 Reviews quarters in Paris in I937, a diary entry of I940, and the letter that she is thought to have addressed to Stalin. The Death of a Poet is interesting, particularly because of Kudrova's-at least partial-rehabilitation of Sergei Efron, who is usually regarded as aweak, spineless individual. Unable to find proof that he took part directly or indirectly in the Reiss affair, she argues that his enforced departure from France was convenient, both for the Soviet Union, which thus...
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