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                <text>When Irish Eyes Aren't Smiling. This little pamphlet contains the impressions of an Irish delegation of their six-week tour at invitation of the All-Russian Trade Union Council to investigate conditions in the Soviet Union. A number of days were spent in Leningrad at both beginning and end of the trip. It is reported that on the boat trip back to that city they sat in the "Lenin Corner" of the recreation room, along with a bust of Lenin and a piano. "They ... put us ashore early one morning at Leningrad, to, I believe, the regret of the entire delegation." The writer remarks further, that, "It [Leningrad] lacks the life and colour of Moscow, but architecturally it is a much finer city."</text>
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                <text>Auguste Racinet (1825-1893). Le costume historique. Paris: Firmin-Didot, 1888. 6 vols. J20, v.6, fasc.2, pl.443</text>
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                <text>Lenin (V.I. Ulyanov), [Moscow]: OGIZ, State Publishing Hitical Literature, 1939.&amp;nbsp; E1283</text>
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                <text>A Raw Youth ... This samovar-table book compiled from material in the Central Lenin Museum in Moscow is chock full of wonderful color as well as black and white plates, facsimiles of party documents, and photographs, with uniformly high-quality reproductions. A student of the art of agitation and propaganda should begin with perusal of this volume and then of the revolutionary posters. Journalists consider it a milestone of the genre. The book was produced "not for sale," but for distribution at the New York World's fair and was aimed at a western audience. Our copy was a gift from John H. Langley, former Director of the Regents Press of Kansas.</text>
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                <text>Gordon Anthony. Russian ballet; camera studies. London: G. Bles, 1939. E336</text>
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                <text>Love and Death. Everywhere in the world, Russian ballet = Russian soul. On the eve of World War I Petrograd's avant-garde artistic community revolted against the stuffy, rigid conservatism of the Imperial Academy of Fine Arts in what one person called "the revolution before the revolution." It was the period of time when Sergei Diagilev would put Russian musicians and other artists to work turning Russian music, movement, theater design, painting, and intense drama into sumptuous ballets. The royal family, decidedly NOT ahead of its time, however, didn't think much of these productions and before long Diagilev was forbidden to perform in the city's imperial theaters. Stravinsky's Petrushka was yanked up and moved with Fokin's Ballets Russes to Paris. Petrushka, the puppet who comes to life, had been a favorite carnival character of the young Aleksandr Benois, but the people of Petrograd in those days never got to share the nostalgia and longing of this story embodying the soul of Old St. Petersburg.</text>
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                <text>The Possessed... If you, like the Russian authorities, dislike "the distortion of the images of the Russian peasantry and their social life," in Grigorev's edition of Rasseja, then look to Shchedrovskii's more realistic but much earlier view. This volume was published simultaneously in St. Petersburg and Berlin and the artist was criticized in Petrograd/Leningrad for his "distortions." He had emigrated in 1919 to the West, and this German edition differs from the Russian edition printed in Berlin, and printed there again in 1922 in that it has three times more oils and graphics. Can we assume there was some bowdlerizing of the Russian edition? Alexander Benois, from whose private library our copy comes, wrote part of the text. The art of Grigorev is said to be rather close to the work of later German expressionists such as Otto Dix and George Grosz, and he was one of the first Russian artists to have an exhibition in the U.S. after the war, a successful one at that, at the Brooklyn Museum. The Department of Special Collections had an opportunity some years ago to buy a few of the books from the library of Aleksandr Benois of the Benois dynasty of intellectuals in art and architecture. Benois felt that Petersburg's architecture was not derivative, but rather was unique within the tradition of neo-Classicism and that Petersburg itself should become the subject of Russian art, that it was not inimical to native Russian styles. He was a preservationist of the Old-Guard, a member of the Society for Old Petersburg. But he became a westerner when he emigrated in 1926.</text>
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                <text>It Takes a Village... When there's talk of Russia &amp;ndash; and especially of Petersburg &amp;ndash; there's talk of contrasts, opposites, contradictions. This theme is a constant in Biely's novel Petersburg. Petersburg is fog, Moscow is sunshine. Moscow is medieval stave churches and onion domes, Petersburg was planned and executed by the Italians and French. Moscow is ancient, Petersburg is modern. Born on the eve of World War II into a leftist/pacifist family (my uncle sold tractors in Russia in the 30s with a fellow-traveler from Eureka, Kansas), this exhibit-maker was one westerner who grew up with a fascination for the fabrics, wooden toys, phonograph records, and other objects around the house that had been sent from that magical place. My uncle returned, disillusioned with the Communist Experiment. Came the war and my confusion over the contrast of the violent images in the newsreels with the colorful villages of the books like this one of Celli's; the dull black and white images in our Weekly Readers at school against cheery stories of Baba Yaga in my Jack and Jill. (My uncle explained that the real Russian Baba Yaga was not so child-friendly!) If you had shown me pictures of Petersburg in 1945, when I was 7, and told me it was Russia, I would have cried and argued with you that it did not look like the Russia I knew. P.-burg was gray, Moscow was red. I might still argue with you. One of these summers, I'll see Petersburg with the frost melted from my glasses.</text>
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                <text>Shoeless Yosuf... One of this westerner's childhood memories is children's books from Europe. They were in French, German, Russian, and thus "unreadable" but beloved just the same, and linguistic barriers contributed to their mystique. This department has a good collection of children's books, many in languages other than English, like this one perfect for the beginning language student. Samuil Marshak was a leader of the Leningrad producers of children's books. He founded, in 1920, one of the first children's theaters in the Soviet Union, and wrote plays for it. But even this group of authors did not escape interrogation, deportment and execution in Stalin's purges of the 1930s when 30,000 Leningraders &amp;ndash; scholars, scientists, poets, artists, writers, composers &amp;ndash; were sent to labor camps in Siberia and the Arctic. "Kiddie Lit" would not in general serve as a good cover for clandestine operations. Marshak had taken coursework in the art department at the University of London, had translated Shakespeare, Burns, Blake, Wordsworth, Keats, Kipling, Lear, and Milne (as well as verse of Ukrainian, Belarusian, Lithuanian, and Armenian poets) and so was as suspect as those Russian ballerinas who might have had a second dance or lingered too long with a western diplomat at an official Leningrad reception. For many Soviet intellectuals, life was nasty, brutish and short. Marshak was one of those who in spite of torture and exile managed to survive, ultimately to receive two Orders of Lenin and a number of medals. AND to live until late into his 70s.</text>
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              <elementText elementTextId="119488">
                <text>&lt;a href="http://spencer.lib.ku.edu/using-the-library/library-use-and-policies"&gt;http://spencer.lib.ku.edu/using-the-library/library-use-and-policies&lt;/a&gt;</text>
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                <text>The Last of the Warmenoughs... It is said that 1913 had the cold feel of revolution in St. P. The weather told the story as it had before in Russian literature (the setting for the events in Pushkin's poem "The Bronze Horseman" was the calamitous flood of 1824, the worst of many). Biely's novel Petersburg appeared that year and foretold the Great War; his oft repeated "oo-oo-oo" symbolizes, of course, the wind. In one of Alexander Blok's poems the October Revolution is depicted as a snowstorm. And 1913 was the 300th anniversary of the founding of the Romanov dynasty and it was observed that in proper Russian irony wind blew down the decorations on the eve of the anniversary celebration. It was just a sign of the times, then, when Stravinsky's 1913 production of "The Rite of Spring," danced by Nijinsky, blew into Paris and took it by storm and scandal.</text>
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              <elementText elementTextId="119484">
                <text>&lt;a href="http://spencer.lib.ku.edu/using-the-library/library-use-and-policies"&gt;http://spencer.lib.ku.edu/using-the-library/library-use-and-policies&lt;/a&gt;</text>
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                <text>Romer Wilson (1891-1930). The social climbers: a Russian middle-class tragedy in four acts seen through London: Ernest Benn, 1927. B6125</text>
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                <text>Feodor: Verochka, do you remember those evenings we spent in the cornfields? British writer Romer Wilson's novels and novellas and in this case, a play, deal with the issues of art, love, and contemporary issues &amp;ndash; contemporary with the first quarter of the 20th century in Leningrad in this instance. This is one of 250 copies signed by the author, a fine bibliographical prize for a middle-class social-climbing book-collector.</text>
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      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
