REVIEWS 755 that there were unquestionable differences between his chosen five writers, Palmer nevertheless overplays the symmetries by asserting that 'Each man wrote out of a joint stock arrangement,and each man's relative success and failure tells us much about the way Russia mattered to England' (p. xii). For all the interestthat the firstchaptershold, it is Palmer'sprobing of the 'Russian theme' in Shakespeare'sLove'sLabours Lost,Measure for Measure and The Winter's Taleas well as, more obviously,inJohn Fletcher'sTheLoyalSubject that occupies centre stage. Hermione's 'The Emperor of Russia was my father' is once and for all removed from the shelf of mere quaint utterances.Palmer's writing is elegant, his analyses subtle and rewarding. He is ever anxious to warn against a mechanical identificationof charactersand plots with real-life personalitiesand events,preferringthe light touch of suggestion,of teasingout unsuspectedsubtexts, of weaving culturalcontexts. Writing Russiais a very good book, but the field was by no means as virgin as the author suggestsin his 'Preface'.He is certainlyfamiliarwith many, but far from all, of the English-languagehistorical works on the Russia of the period, but it would be remissin a review for a Slavonicjournal not to point out serious omissions in his bibliography. Apart from a curious reference to Iurii Lotman (in text, note and bibliography),he is completely unfamiliar with Russian-languageworks. There is, for instance, no mention of M. P. Alekseev'snumerousworks on the period, particularlyhis 'Shekspiri russkoe gosudarstvoXVI-XVII vv.', in Shekspir i russkaia kul'tura (Leningrad,I965)and his Russko-angliiskie literatumye sviazi(Moscow, I982). But it is not only Russian sourcesthat are neglected. He is unawareof K. H. Ruffman'sDas Russlandbild im EnglandShakespeares (Gottingen, I952), to say nothing of other German contributions.An acquaintancewith the riches of SEERwould have revealed Leo Loewenson's establishing the author of The RussianImpostor (I674) to be Sir Roger Manley (3I, I952, 76, pp. 232-40) as well J. W. Draper's 'Shakespeareand Muscovy' (33, I954, 8o, pp. 2I7-2I). Amidst many further pertinent English sources, the omissions of R. R. Cawley's The Voyagers and Elizabethan Drama(Boston, MA, I938) with its many pages on Muscovy and the North and of Leslie Hotson's TheFirstJNight of Twelfth Night(London, 1954) are striking.Finally, for Palmer's discussion of Boris Godunov's reign, 7The Travailes of the Three EnglishBrothers, Sir Thomas, SirAnthony, Mr. Robert Shirley (I607),a play attributedtoJohn Day, William Rowley and George Wilkins,is a primarysourcethat includesa visit to the Russiancourt. Boris'sambassador to England in i6oo, incidentally, was, paceWillan's RussiaCompany, Grigorii Mikulin, not Melkin (p. I83). Fitzwilliam College ANTHONY CROSS Universitv of Cambridge Dobrenko, Evgeny and Naiman, Eric (eds). TheLandscape of Stalinism: TheArt andIdeologv of SovietSpace.Studies in Modernity and National Identity. University of Washington Press, Seattle, WA and London, 2003. xvii + 315 PP. Illustrations.Notes. Index. $25.00: ?i8.95 (paperback). STUDIES of Stalin's Russia have come a long way since pioneering Western historiansof the I96os to I970S grappledwith inadequatesourcesto revealthe 756 SEER, 84, 4, 2006 fundamentalsof politics,personalities,economics and institutions.It is notjust that access to archives has extended our knowledge, rather that in the last decade or so culturalhistorianshave penetratedplaces that we hardlyguessed existed, going beyond the simplisticnotion of Soviet culture as 'propaganda' to view it as an integralpart of a total landscapeof political-aestheticstruggle. This impressivecollection contains twelve articlesby leading scholars in the field, all focusing on the spatialdimensions of Stalinistideological discourse. Katerina Clarke's'SocialistRealism and the Sacralizingof Space' (pp.3i8 ) is a stimulatingstudy of the prioritizationof building metaphorsin transforming society. Space was 'purified',from the hollows to the heights, hence the interestin aviators,alpinisty and tall buildings.Like a number of authors, Clarkedwellson the image of the Kremlin at the heart of Soviet sacredspace, its great tower 'a sentinel, a guardian, or a guarantor of ideological purity' (p. I3). 'Monumental' depictions of Stalin were nearly always vertical and motionless,while the masses milled around below. It is instructivethat in real life the attempt to replace the ancient Kremlin with the futuristicPalace of Sovietsfailed. OksanaBulgakowatouches on this issuein her studyof 'Spatial Figuresin Soviet Cinema in the I930s' (pp. 51-76), which explores the reality of filmed...