Stephanie Sandler's new book, which covers vast tracts of cultural and literary history through the optic of Pushkin veneration, is big and ambitious and, one is tempted to say, polymorphous. Refusing to dodge the first-person pronoun in its engagement with an awesome cultural institution, it comfortably spills over its boundaries as strict scholarly tome. At the same time, Commemorating Pushkin seems ever aware, in a tone both respectful and probing, of who and what has come before along this people's path that is anything but overgrown with the weeds of neglect. Pushkin museums; Pushkin anniversaries; films about Pushkin; the Pushkin studied (and created) by later poets and writers; ingenious interventions into classic texts; a viewpoint that chooses as interlocutors the finest commentators and thinkers from two centuries and two quite different cultural backgrounds and epistemes (Russian/Western, philological/postmodern, and so on)-it is all here. Sandler's writing is mature, confident, humane. Another distinct pleasure of this book is that it comes buttressed with a massive scholarly apparatus: a hundred pages of reference matter, replete with scores of subtly argued explanatory notes that alone are worth the price of admission. At a time when scholarly publishing is seriously ailing (if not worse), Commemorating Pushkin gives us some reason to hope. Structurally, Commemorating Pushkin breaks down into an Introduction, seven chapters, and an Afterword. Introduction sets the stage, skillfully pointing out the paradoxes inherent in the Pushkin myth-the obsession with the poet's death versus the insistence that he lives, the public (our) Pushkin versus the private (my) Pushkin, etc. It then gets things started with readings of two poems, The Prophet (Prorok, 1826) and I have built myself a monument (Ia pamiatnik sebe vozdvig, 1836), that themselves have played key roles in mythologizing their author. Does Pushkin see himself as prophet (A la Soloviev), as poet tout court (a secular being), or as somehow straddling both? Chapter 1 establishes an immediate posthumous context by examining elegies of Lermontov (The Death of the Poet [Smert' poeta, 1837]), Zhukovsky (He was lying
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