MLR, I02.I, 2007 295 His discussion of theplay as not somuch a history but ametahistory, a kind of fusion of the concerns ofRacine and Shakespeare, is especially rewarding. Equally, Clayton correctly reveals that issues of genre are vital to a full interpretation of theplay. Chap ters 6 and 7 aremodels of detailed textual analysis and are supremely illuminating. The whole work, in fact, isan excellent blend of scholarly research and detailed study of the text; throughout it iswritten in a lively,engaging, and eminently crisp style. While Clayton isquite right to claim that many ofhis findings run against 'received wisdom', he also treads some familiar ground, as in his coverage of the Soviet uses and abuses ofPushkin, and Pushkin's relationshipwith theDecembrists, forexample. Even here, though, Clayton infuses new life into these old stories, aswhen he shows intelligent discrimination inhis account of Soviet critics, treatingGukovsky, for in stance, with the respect he deserves (p. 22); or when he deals well with the precise nature of Shakespeare's influence on Pushkin. The work does, however, have certainweaknesses. For a book of this importance the introduction, at just threepages, is fartoobrief.An importantprecursor, Sumarokov's Dimitrii theImpostor (I 77 1), isnot evenmentioned. For thepresent reviewer there is too little said about Marina, or about gender more generally: indeed, gender as such isnot discussed. Ultimately, the book raises a key conundrum but fails to resolve it. While most of Pushkin's major works were to set the agenda for the development of Russian literature formany decades after his death, Boris was, as itwere, almost without issue. IfBoris Godunov is as important awork as Clayton frequently claims it is,why has itnever been successfully staged? These reservations should not detract, however, from the great achievement that this book undoubtedly is. While itdoes offer a very full account of the play, it also suggests many potentially fruitfulareas for future research. Clayton iscertainly to be warmly congratulated forhaving written a very important book. KEELE UNIVERSITY JOE ANDREW CommemoratingPushkin: Russia's MythofaNationalPoet. By STEPHANIE SANDLER. Stanford, CA: Stanford University Press. 2004. 406 pp. C34. ISBN 978-o 8047-3448-6. Stephanie Sandler's chosen topic isboth ambitious and wide-ranging, but is conse quently one that is likely to appeal to a broad readership. Commemorating Pushkin aims to chronicle Russia's changing relationship with Pushkin, fromhis death to the present day, and particularly theways inwhich different images ofPushkin have been created and fostered throughmediums such as poetry, literature, theatre, and film. In tackling such a broad theme, Sandler freely acknowledges that her contribution does not aim to be definitive, but is rather 'part of ongoing work thatwill continue formany years to come' (p. I3). The book provides a broad overview of the topic in question, alongside richly detailed case studies of various works and institutions inspired by Pushkin. However, Sandler's overall argument isnot always easy to follow as the case studies, while critical and revealing, are often not intimately linked to the wider context and the book also lacks a unifying conclusion. However, on thewhole Commemorating Pushkin is ameticulous and well-researched work, and one thatpro vides numerous fresh insights into the historical and contemporary importance of Pushkin inRussian cultural life. The book comprises seven chapters, each focusing on a differentaspect ofPushkin' s commemorative history. The firstexamines the immediate reaction to Pushkin's death, through analysis of the poetic eulogies written by Vasily Zhukovsky, Mikhail Lermontov, and Evdokia Rostpochina. These tributes arewritten from theviewpoint 296 Reviews of people who actually knew and loved Pushkin, and thus provide an interesting con trast to later case studies, which all arise frommore 'artificial' and distant memories of thepoet. Chapter 2 considers themuseums which memorialize Pushkin, with par ticular emphasis on those atBoldino andMikhailovskoe. Sandler looks at theways in which artefacts and Pushkinian lyrics are used tobring visitors closer to the 'spirit' of Pushkin, and thus facilitate theact of remembrance. Chapter 3 focuses on anniversary commemorations, although itprovides a rather distorted view by focusing only on Soviet and post-Soviet events. Sandler examines theways inwhich Pushkin's image was used to foster a sense of national identity,as the organizers of each celebration sought tomould Pushkin into a rolemodel...
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Jan 1, 2024
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Patrick Midgley 