Podcast appearances and mentions of Vladimir Mayakovsky

Marcelo Moreno, Diego Recalde, Graciela Fernández Meijide, Néstor Rodríguez, Maga Kohan, Laura Sherman y Rómulo Berrut nos comparten sus textos elegidos. ¿Qué entendemos por “Dilogía”? ¿Y por “Horror Cósmico”? ¿Qué es el “Master de Juglaría”? Refrescamos poemas y narrativas de autores como Vladimir Mayakovsky, Clarice Lispector, Gabriel García Marquez, Alfonsina Storni, Raquel Campos, Salman Rushdie y José Pablo Feinman, en las voces de nuestros locutores Además, ¿ Por qué se lo considera a Mayakovsky “el primer rappero” de la historia? ¿En qué consiste el libro que Warho dedicó a América? ¿Qué hecho los une a Leonard Cohen y Federico García Lorca ? Antonin Artoud le envía una carta a Jacques Prevel contándole algunas impresiones sobre su literatura. Pensamos las letras de las canciones de Baglietto, Serrat, Gabo Ferro y José Carreras, entre otros. Como siempre, escuchamos las voces de nuestros oyentes quienes nos acercan sus propios textos o aquellos que escogieron de otros, para seguir creando este infinito collage sonoro de lecturas compartidas. POESIA 1110: Un espacio para pensar y resonar el acto poético en todas sus formas; la poesía de todas las cosas.

Ben Luke talks to William Kentridge about his influences—from the worlds of literature, music, film and, of course, art—and the cultural experiences that have shaped his life and work. Kentridge was born in 1955 in Johannesburg, South Africa, and began his career making large-scale drawings. But his work has grown to encompass film and video installation, sculpture, tapestry, sound, performance, and puppetry. It teems with imagery and ideas, reflecting on his autobiography, on the inequities of Apartheid South Africa, but also on broader histories from colonialism to communism and beyond. He discusses being surrounded by Miró and Matisse as a child, his homages to Beckmann and Manet, the enduring power of composers like Shostakovich and early filmmakers like Georges Méliès, and the poetry of Vladimir Mayakovsky. Plus, he gives insight into life in his studio, and answers our usual questions, including the ultimate: what is art for?William Kentridge, Royal Academy of Arts, London, until 11 December; William Kentridge: Oh To Believe in Another World, Goodman Gallery, London, 1 October-12 November. William Kentridge: In Praise of Shadows, the Broad, Los Angeles, 12 November-9 April 2023. William Kentridge: That Which We Do Not Remember, M. K. Čiurlionis National Museum Of Art, Kaunas, Lithuania, until 30 November. William's series of short films, Self Portrait as a Coffee Pot, is shown at the ICA, London, as part of the BFI London Film Festival on 7 October. Hosted on Acast. See acast.com/privacy for more information.

In the first of our episodes covering the 2022 Edinburgh Festival Fringe, Louise talks to the incredible Rosy Carrick about her new show, Musclebound. Following her multi award-winning theatre debut, Passionate Machine, Rosy Carrick is back. When bodybuilders and 80s action films unite, you can always count on a good hard flogging! And, for a young Rosy, witnessing characters like He-Man and Conan being beaten and humiliated by their male antagonists sparked the most glorious erotic obsession of her life. Now 40, with a grown-up daughter of her own and a string of unfulfilling relationships behind her, Rosy is on a mission to rediscover her sexual power – but can tortured beefcake really be the key to her salvation? 'Intelligent, articulate, funny' (Scotsman). See Musclebound at Assembly Roxy (Downstairs) at 17:50 (1h) from 3-28 August (excl. 10, 16, 23). Buy tickets - https://tickets.edfringe.com/whats-on/musclebound Dr Rosy Carrick is a poet, playwright, actor and stage compere. Based in Brighton, she gives talks, lectures and performances of her work around the world, and is a leading scholar of the Russian revolutionary poet Vladimir Mayakovsky. Find out more - http://www.rosycarrick.com/ Follow Rosy on Twitter at https://twitter.com/rosycarrick Follow Rosy on Instagram at https://www.instagram.com/rosycarrick/

On March 27, 1926, Frank (Francis Russell) O'Hara was born in Maryland. He grew up in Massachusetts, and later studied piano at the New England Conservatory in Boston from 1941 to 1944. O'Hara then served in the South Pacific and Japan as a sonarman on the destroyer USS Nicholas during World War II.Following the war, O'Hara studied at Harvard College, where he majored in music and worked on compositions and was deeply influenced by contemporary music, his first love, as well as visual art. He also wrote poetry at that time and read the work of Arthur Rimbaud, Stéphane Mallarmé, Boris Pasternak, and Vladimir Mayakovsky. While at Harvard, O'Hara met John Ashbery and soon began publishing poems in the Harvard Advocate. Despite his love for music, O'Hara changed his major and left Harvard in 1950 with a degree in English. He then attended graduate school at the University of Michigan, Ann Arbor, and received his MA in 1951. That autumn, O'Hara moved into an apartment in New York. He was soon employed at the front desk of the Museum of Modern Art and continued to write seriously.O'Hara's early work was considered both provocative and provoking. In 1952, his first volume of poetry, A City Winter, and Other Poems, attracted favorable attention; his essays on painting and sculpture and his reviews for ArtNews were considered brilliant. O'Hara became one of the most distinguished members of the New York School of poets, which also included Ashbery, James Schuyler, and Kenneth Koch. O'Hara's association with painters Larry Rivers, Jackson Pollock, and Jasper Johns, also leaders of the New York School, became a source of inspiration for his highly original poetry. He attempted to produce with words the effects these artists had created on canvas. In certain instances, he collaborated with the painters to make “poem-paintings,” paintings with word texts.O'Hara's most original volumes of verse, Meditations in an Emergency (1956) and Lunch Poems (1964), are impromptu lyrics, a jumble of witty talk, journalistic parodies, and surrealist imagery. O'Hara continued working at the Museum of Modern Art throughout his life, curating exhibitions and writing introductions and catalogs for exhibits and tours. On July 25, 1966, while vacationing on Fire Island, Frank O'Hara was killed in a sand buggy accident. He was forty years old.From https://poets.org/poet/frank-ohara. For more information about Frank O'Hara:“Frank O'Hara”: https://www.poetryfoundation.org/poets/frank-ohara“To the Film Industry in Crisis”: https://poets.org/poem/film-industry-crisis“The Ongoing Influence of Frank O'Hara, the Art World's Favorite Poet”: https://www.artsy.net/article/artsy-editorial-ongoing-influence-frank-ohara-art-worlds-favorite-poetMeditations in An Emergency: https://groveatlantic.com/book/meditations-in-an-emergency/

Vladimir Vladimirovitch Maiakovski, também chamado de "o poeta da Revolução", foi um poeta, dramaturgo e teórico russo, frequentemente citado como um dos maiores poetas do século XX, ao lado de Ezra Pound e T.S. Eliot, bem como "o maior poeta do futurismo". Nasceu em 1892 e faleceu em 1930, aos 36 anos de suicídio. >> Apoie o projeto e nos ajude a espalhar mais poesia https://apoia.se/tomaaiumpoema Poema: Poder Poeta: Vladimir Mayakovsky Voz: Jéssica Iancoski | @euiancoski Use #tomaaiumpoema Siga @tomaaiumpoema "Tu sabes e conhece melhor do que eu a velha história… Na primeira noite, eles se aproximam de nossa casa, roubam-nos uma flor e nós não dizemos nada… Na segunda noite, eles não só se aproximam da nossa casa, mas pulam o muro, pisam nas flores, matam o nosso cãozinho E nós não dizemos nada… Até que um dia, o mais sábio deles, entra em nossa casa, rouba-nos a luz, arranca a voz de nossa garganta e aí então meus caros amigos é que não podemos dizer mais nada mesmo." Descubra mais em www.jessicaiancoski.com Está servido? Fique! Que tal mais um poeminha? ___ >> Quer ter um poema seu aqui? É só preencher o formulário! Após o preenchimento, nossa equipe entrará em contato para informar a data agendada. https://forms.gle/nAEHJgd9u8B9zS3u7 CONTRIBUA! =P >> Formulário para Indicação de Autores, contribuição com declames, sugestões (...)! https://forms.gle/itY59kREnXhZpqjq7

Vladimir Vladimirovitch Maiakovski, também chamado de "o poeta da Revolução", foi um poeta, dramaturgo e teórico russo, frequentemente citado como um dos maiores poetas do século XX, ao lado de Ezra Pound e T.S. Eliot, bem como "o maior poeta do futurismo". Nasceu em 1892 e faleceu em 1930, aos 36 anos de suicídio. >> Apoie o projeto e nos ajude a espalhar mais poesia https://apoia.se/tomaaiumpoema Poema: Teatros Poeta: Vladimir Mayakovsky Voz: Jéssica Iancoski | @euiancoski Use #tomaaiumpoema Siga @tomaaiumpoema "O conto é sobre os grafitos no tablado onde uma letra de um metro se aboleta, e à noite convidam das tabuletas as pupilas dos anúncios pintalgados. O automóvel pinta os lábios brancos da mulher desbotada de Carrièri *; dos fox-terriers em chamas arrancam peliças dos passantes na carreira. E assim que uma pera furtaluz rasgou na sombra as lanças dos ataques, sobre os ramos das frisas com flores de pelúcia dependuraram-se pesadamente os fraques." Descubra mais em www.jessicaiancoski.com Está servido? Fique! Que tal mais um poeminha? ___ >> Quer ter um poema seu aqui? É só preencher o formulário! Após o preenchimento, nossa equipe entrará em contato para informar a data agendada. https://forms.gle/nAEHJgd9u8B9zS3u7 CONTRIBUA! =P >> Formulário para Indicação de Autores, contribuição com declames, sugestões (...)! https://forms.gle/itY59kREnXhZpqjq7

14 NİSAN 2021 DÜNYA TARİHİNDE BUGÜN YAŞANANLAR 1828 - Noah Webster, ilk İngilizce sözlük olan An American Dictionary of the English Language'ı yayımladı. 1865 - ABD Başkanı Abraham Lincoln'e, John Wilkes Booth tarafından suikast yapıldı. Lincoln ertesi sabah öldü. 1894 - Thomas Edison, sinemanın bir öncüsü sayılabilecek "kinetoscope" adlı cihazının ilk gösterisini yaptı. 1912 - Dönemin en büyük yolcu gemisi RMS Titanic, gece yarısından önce 23:40 sularında bir buzdağı ile çarpıştı ve batmaya başladı. 1956 - Chicago, Illinois'de video ilk kez halka tanıtıldı. TÜRKİYE TARİHİNDE BUGÜN YAŞANANLAR 1912 - Bir Alman şirketine 1910'da ısmarlanan Galata Köprüsü hizmete girdi. Köprüden geçiş 1930'a kadar paralı olarak sağlandı. 'Müruriye' denilen geçiş parasını, önlükler giyen tahsildarlar topluyordu. BUGÜN DOĞANLAR 1126 - Endülüslü Arap felsefeci ve hekim İbn Rüşt, dünyaya geldi. 1578 - İspanya kralı III. Felipe doğdu. BUGÜN ÖLENLER 1759 -  Alman besteci George Frideric Handel, hayatını kaybetti. 1930 -  Rus yazar Vladimir Mayakovsky,vefat etti.

A poem a day keeps the sadness at bay.

Tola and Filippo analyse a poem by Vladimir Mayakovsky.

1 Me quer ? Não me quer ? As mãos torcidas os dedos despedaçados um a um extraio assim tira a sorte enquanto no ar de maio caem as pétalas das margaridas Que a tesoura e a navalha revelem as cãs e que a prata dos anos tinja seu perdão penso e espero que eu jamais alcance a impudente idade do bom senso 2 Passa da uma você deve estar na cama Você talvez sinta o mesmo no seu quarto Não tenho pressa Para que acordar-te com o relâmpago de mais um telegrama 3 O mar se vai o mar de sono se esvai Como se diz: o caso está enterrado a canoa do amor se quebrou no quotidiano Estamos quites Inútil o apanhado da mútua dor mútua quota de dano 4 Passa de uma você deve estar na cama À noite a Via Láctea é um Oka de prata Não tenho pressa para que acordar-te com relâmpago de mais um telegrama como se diz o caso está enterrado a canoa do amor se quebrou no quotidiano Estamos quites inútil o apanhado da mútua do mútua quota de dano Vê como tudo agora emudeceu Que tributo de estrelas a noite impôs ao céu em horas como esta eu me ergo e converso com os séculos a história do universo 5 Sei o puldo das palavras a sirene das palavras Não as que se aplaudem do alto dos teatros Mas as que arrancam caixões da treva e os põem a caminhar quadrúpedes de cedro Às vezes as relegam inauditas inéditas Mas a palavra galopa com a cilha tensa ressoa os séculos e os trens rastejam para lamber as mãos calosas da poesia Sei o pulso das palavras parecem fumaça Pétalas caídas sob o calcanhar da dança Mas o homem com lábios alma carcaça. (Poema de Vladimir Mayakovsky - tradução: Augusto de Campos)

In the wake of the coronavirus epidemic and shutting down of much of the UK's cultural life, we have decided to bring you a series of interviews with contemporary artists, writers, filmmakers and other cultural figures, conducted via Skype (so apologies for the diminished audio quality), about their practices, the political issues that inspire them and the socio-economic conditions that have shaped their work. In the seventeenth of these Sessions, Juliet talks to London-based visual artist and teacher Oreet Ashery. Born in Jerusalem in 1966 and educated at Sheffield Hallam University and Central Saint Martins, Oreet Ashery is a transdisciplinary artist who engages with biopolitical fiction, autoethnography, gender materiality and potential communities, making large-scale projects that span moving image, performance, music, writing and activism. Here, Ashery discusses her new text ‘We’ve been preparing for this our whole lives’ in respond to the Covid-19 outbreak; her recent film Dying Under Your Eyes (2019), commissioned by the Wellcome Collection for the Misbehaving Bodies exhibition that combined Ashery’s work with that of British artist Jo Spence (1934-1992); her Jarman Award-winning series Revisiting Genesis (2015-16) and its themes around death, dying and the digital; her Party for Freedom (2013), made in response to the rise of Dutch far-right politician Geert Wilders, and The World is Flooding (2014), based on a play by Vladimir Mayakovsky; and the implications of the widespread adoption of digital technology during lockdown for the art world and especially the art school. A full list of references for the programme, with links, can be found via our Patreon at www.patreon.com/suite212, and are available to $3 subscribers.

Translated from the Russian by David Rottenberg.A Poem A Day by Sudhanva Deshpande.Read on April 23, 2020.Art by Virkein Dhar.

Santo Cazzati reads the poetry of and explores the life and politics of early 20th century Russian revolutionary, Vladimir Mayakovsky.

Dr Rosy Carrick is a poet, playwright, performer and translator. Her first full collection Chokey was published in 2018 by Burning Eye Books. Rosy has a PhD on the poetry of the Russian revolutionary writer Vladimir Mayakovsky and has released two books of his work in translation. She currently teaches on the English Literature and Creative Writing course at Brighton University and has just finished touring her acclaimed solo performance play ‘Passionate Machine’.

In this episode, Matt talks with Marina Alexandrova about her challenges coming to America from Russia, and the art of teaching Russian culture as a talented and creative professor at the University of Texas at Austin. ABOUT THE GUEST: Voted one of UT's Top Ten Professors (which is a big deal), Dr. Marina Alexandrova was born and raised in Saratov, Russia. She received her MA equivalent in English from Saratov State University, and her PhD in Comparative Literature (Russian and Spanish American Literatures) from the University of Texas at Austin. Her dissertation analyzes the formation of the literary public spheres in Russia and Argentina, focusing on the avant-garde literary groups and their complex interactions with the state. Dr. Alexandrova's current research interests include the art and literature of Russian modernism and avant-garde, the history of Russian food production and consumption, and Russian radical and revolutionary movements. During Spring 2018, Dr. Alexandrova taught her new course "Advanced Russian through Drama," which culminated in student production of Vladimir Mayakovsky's controversial comedy "Bedbug" (1928). Watch clips from the performance here: https://utexas.app.box.com/s/c5yxguq40pznz9tg721vea0u0xvqo3w0. Visit Dr. Alexandrova's guest page on our site https://www.slavxradio.com/guests/marina for more. NOTE: Episode recorded September 20, 2019 at the University of Texas at Austin. CREDITS Co-Producer: Matthew Orr (Connect: facebook.com/orrrmatthew) Co-Producer: Tom Rehnquist (Connect: facebook.com/thomas.rehnquist) Supervising Producer: Katya Yegorov-Crate (Connect: facebook.com/furthestconstellationofmysoul) Associate Producer/Host: Lera Toropin (Connect: www.facebook.com/ltoropin) Executive Editor/Music Producer: Charlie Harper (Connect: facebook.com/charlie.harper.1485 Instagram: @charlieharpermusic) www.charlieharpermusic.com Executive Producer & Creator: Michelle Daniel (Connect: facebook.com/mdanielgeraci Instagram: @michelledaniel86) www.msdaniel.com Follow The Slavic Connexion on Instagram: @slavxradio, Twitter: @SlavXRadio, and on Facebook: facebook.com/slavxradio . Visit www.slavxradio.com for more episodes and information. Special Guest: Marina Alexandrova (Марина Александрова).

В этом эпизоде ведущие Мэтт и Лера садятся с профессором Мариной Александровой, чтобы рассказать о своем опыте адаптации к жизни в Америке. Марина - очень любимый профессор Техасского университета в Остине. Послушайте и узнайте почему. ABOUT THE GUEST: Voted one of UT's Top Ten Professors (which is a big deal), Dr. Marina Alexandrova was born and raised in Saratov, Russia. She received her MA equivalent in English from Saratov State University, and her PhD in Comparative Literature (Russian and Spanish American Literatures) from the University of Texas at Austin. Her dissertation analyzes the formation of the literary public spheres in Russia and Argentina, focusing on the avant-garde literary groups and their complex interactions with the state. Dr. Alexandrova's current research interests include the art and literature of Russian modernism and avant-garde, the history of Russian food production and consumption, and Russian radical and revolutionary movements. During Spring 2018, Dr. Alexandrova taught her new course "Advanced Russian through Drama," which culminated in student production of Vladimir Mayakovsky's controversial comedy "Bedbug" (1928). Watch clips from the performance here: https://utexas.app.box.com/s/c5yxguq40pznz9tg721vea0u0xvqo3w0 RECORDING NOTE: Episode recorded September 20th, 2019 at the University of Texas at Austin. CREDITS Co-Producer: Matthew Orr (Connect: facebook.com/orrrmatthew) Co-Producer: Tom Rehnquist (Connect: facebook.com/thomas.rehnquist) Co-Host/Associate Producer: Lera Toropin Editor/Associate Producer: Kathryn Yegorov-Crate Music Producer: Charlie Harper (Connect: facebook.com/charlie.harper.1485 Instagram: @charlieharpermusic Visit him on the web: www.charlieharpermusic.com) Executive Producer & Creator: Michelle Daniel (Connect: facebook.com/mdanielgeraci Instagram: @michelledaniel86) www.msdaniel.com Follow The Slavic Connexion on Instagram: @slavxradio, Twitter: @SlavXRadio, and on Facebook: facebook.com/slavxradio . Visit www.slavxradio.com for more episodes and information. Special Guest: Marina Alexandrova (Марина Александрова).

The life and legacy of Vladimir Mayakovsky.

Suzi and Alan Minsky talk to Katie Halper of WBAI's The Katie Halper Show about the role of independent media and politics in the Trumpian landscape we inhabit. Then Suzi speaks to prolific, award-winning playwright Murray Mednick, whose enigmatic  "Mayakovsky and Stalin" runs until August 19 at the Lounge Theatre in Hollywood. The play examines two lives and two suicides, related but distant, responding to the liberating freedom of revolution in the Soviet Union, but then increasingly strangled and suffocated by the top down brutal dictatorship of Stalin, played by actor Maury Sterling (best known as Max on Homeland), who joins the conversation. The play traces the parallel stories of the giant of Russian poetry, Vladimir Mayakovsky, and his relationship to his love and muse, Lilya Brik (darling of Russia’s avant garde) and her husband, the literary critic Osip Brik. Their relationship exemplifies the freedom from conventional mores in the early years of the revolution. The second life and suicide is that of Nadezhda Alliluyeva, Stalin's young wife who committed suicide during a state dinner in 1932, renouncing her husband and his horrific policies, reflecting her despair and suffocation being married to the supreme dictator while millions perished.

Season Five begins with a wonderful being I met in Mysore practice; Jenny Wade. She is publishing a book: Mayakovsky Maximum Access selected poems by Vladimir Mayakovsky translated by Jenny Wade She enlightens me with the depth and breath of Russian poetry; especially of Vladimir Mayakovsky… a Russian Soviet poet, playwright, artist, and actor. Her dedication in her book states, "To all the fools who abandoned “shameful good sense” and fell in love with Russian poetry." And her Author's Biography: Jenny Wade is a musician and computer programmer who suffers from an obsession with 20th century Russian poetry. She has an MA in Russian Literature from UVA. And you can visit her YouTube channel here: https://www.youtube.com/channel/UCwx01Z5HA6aAy99A69MLorA    

Ian Sansom attempts to resurrect the spirit of poet Vladimir Mayakovsky

China Mieville reads from his latest book "October" and discusses the haunting legacy of the Russian Revolution. Editors Norma Field and Heather Bowen-Struyk read from their anthology of Japanese proletarian writings "For Dignity, Justice and Revolution". Plus, University of Chicago Professor Robert Bird reads and discusses Vladimir Mayakovsky's poem "Our March". Open Stacks is the official podcast of the Seminary Co-op Bookstores. This episode was produced by Kit Brennen and Imani Jackson. 

Julia Alekseyeva’s graphic novel Soviet Daughter: A Graphic Revolution was published by Microcosm Publishing in 2017. This is the intertwining story of two women: Lola, who was born in a Jewish family in Kiev in 1910, and her great-granddaughter Julia, whose family moved to the United States from Ukraine in the wake of the events at Chernobyl. Lola has gone through the Bolshevik revolution, the Civil War, the Stalinist purges, deportation to Kazakhstan, and the Chernobyl disaster and these are her real-life memoirs that lay the foundation for the novel. The chapters telling Lola’s story are alternated with shorter interludes from the contemporary life of the second protagonist, Julia, a representative of the generation of millennials, who are struggling to come to terms with their idealistic views on life and politics amidst the changing world order. Alekseyeva, who is a PhD student in Comparative Literature at Harvard University, works on avant-garde cinema in the USSR, Japan, and France, and her academic interest in visual narrative techniques has deeply affected her work on the graphic novel. The story-telling in Soviet Daughter is rich and intense, and also full of supplementary comments and explanations of various aspects of Soviet everyday life; however, the novel is very easy to read and grasps the readers attention from the very first pages. To this, the sincerity of Alekseyeva’s intonation contributes greatly. She does not shy away from being very honest about issues such as inter-generational misunderstanding, conflicts within family, and difficulties of the migrant experience yet at the same time she persistently maintains the tactful balance between a personal story-telling and a nearly academic inquiry into the experience of several generations of Soviet Jewish immigrants in America. The precursors of Alekseyeva’s novel are works such as Marjane Satrapi’s Persepolis, Art Spiegelman’s Maus, and Alison Bechdel’s Fun Home. Another major influence on Alekseyeva is actually Vladimir Mayakovsky, especially his work in Okna ROSTA. Soviet Daughter does, in fact, open by a quote from Mayakovsky. Julia Alekseyeva’s novel will be of much interest both to the broad readers audience, and also to the scholars of Soviet history, Jewish identity, and immigration. Into all of these themes it provides a fascinating insight. Olga Breininger is a PhD candidate in Slavic and Middle Eastern Studies at Harvard University. Her research interests include post-Soviet culture and geopolitics, with a special focus on Islam, nation-building, and energy politics. Olga is the author of the novel There Was No Adderall in the Soviet Union and columnist at Literratura. Learn more about your ad choices. Visit megaphone.fm/adchoices

Julia Alekseyeva’s graphic novel Soviet Daughter: A Graphic Revolution was published by Microcosm Publishing in 2017. This is the intertwining story of two women: Lola, who was born in a Jewish family in Kiev in 1910, and her great-granddaughter Julia, whose family moved to the United States from Ukraine in the wake of the events at Chernobyl. Lola has gone through the Bolshevik revolution, the Civil War, the Stalinist purges, deportation to Kazakhstan, and the Chernobyl disaster and these are her real-life memoirs that lay the foundation for the novel. The chapters telling Lola’s story are alternated with shorter interludes from the contemporary life of the second protagonist, Julia, a representative of the generation of millennials, who are struggling to come to terms with their idealistic views on life and politics amidst the changing world order. Alekseyeva, who is a PhD student in Comparative Literature at Harvard University, works on avant-garde cinema in the USSR, Japan, and France, and her academic interest in visual narrative techniques has deeply affected her work on the graphic novel. The story-telling in Soviet Daughter is rich and intense, and also full of supplementary comments and explanations of various aspects of Soviet everyday life; however, the novel is very easy to read and grasps the readers attention from the very first pages. To this, the sincerity of Alekseyeva’s intonation contributes greatly. She does not shy away from being very honest about issues such as inter-generational misunderstanding, conflicts within family, and difficulties of the migrant experience yet at the same time she persistently maintains the tactful balance between a personal story-telling and a nearly academic inquiry into the experience of several generations of Soviet Jewish immigrants in America. The precursors of Alekseyeva’s novel are works such as Marjane Satrapi’s Persepolis, Art Spiegelman’s Maus, and Alison Bechdel’s Fun Home. Another major influence on Alekseyeva is actually Vladimir Mayakovsky, especially his work in Okna ROSTA. Soviet Daughter does, in fact, open by a quote from Mayakovsky. Julia Alekseyeva’s novel will be of much interest both to the broad readers audience, and also to the scholars of Soviet history, Jewish identity, and immigration. Into all of these themes it provides a fascinating insight. Olga Breininger is a PhD candidate in Slavic and Middle Eastern Studies at Harvard University. Her research interests include post-Soviet culture and geopolitics, with a special focus on Islam, nation-building, and energy politics. Olga is the author of the novel There Was No Adderall in the Soviet Union and columnist at Literratura. Learn more about your ad choices. Visit megaphone.fm/adchoices

Julia Alekseyeva’s graphic novel Soviet Daughter: A Graphic Revolution was published by Microcosm Publishing in 2017. This is the intertwining story of two women: Lola, who was born in a Jewish family in Kiev in 1910, and her great-granddaughter Julia, whose family moved to the United States from Ukraine in the wake of the events at Chernobyl. Lola has gone through the Bolshevik revolution, the Civil War, the Stalinist purges, deportation to Kazakhstan, and the Chernobyl disaster and these are her real-life memoirs that lay the foundation for the novel. The chapters telling Lola’s story are alternated with shorter interludes from the contemporary life of the second protagonist, Julia, a representative of the generation of millennials, who are struggling to come to terms with their idealistic views on life and politics amidst the changing world order. Alekseyeva, who is a PhD student in Comparative Literature at Harvard University, works on avant-garde cinema in the USSR, Japan, and France, and her academic interest in visual narrative techniques has deeply affected her work on the graphic novel. The story-telling in Soviet Daughter is rich and intense, and also full of supplementary comments and explanations of various aspects of Soviet everyday life; however, the novel is very easy to read and grasps the readers attention from the very first pages. To this, the sincerity of Alekseyeva’s intonation contributes greatly. She does not shy away from being very honest about issues such as inter-generational misunderstanding, conflicts within family, and difficulties of the migrant experience yet at the same time she persistently maintains the tactful balance between a personal story-telling and a nearly academic inquiry into the experience of several generations of Soviet Jewish immigrants in America. The precursors of Alekseyeva’s novel are works such as Marjane Satrapi’s Persepolis, Art Spiegelman’s Maus, and Alison Bechdel’s Fun Home. Another major influence on Alekseyeva is actually Vladimir Mayakovsky, especially his work in Okna ROSTA. Soviet Daughter does, in fact, open by a quote from Mayakovsky. Julia Alekseyeva’s novel will be of much interest both to the broad readers audience, and also to the scholars of Soviet history, Jewish identity, and immigration. Into all of these themes it provides a fascinating insight. Olga Breininger is a PhD candidate in Slavic and Middle Eastern Studies at Harvard University. Her research interests include post-Soviet culture and geopolitics, with a special focus on Islam, nation-building, and energy politics. Olga is the author of the novel There Was No Adderall in the Soviet Union and columnist at Literratura. Learn more about your ad choices. Visit megaphone.fm/adchoices

Julia Alekseyeva’s graphic novel Soviet Daughter: A Graphic Revolution was published by Microcosm Publishing in 2017. This is the intertwining story of two women: Lola, who was born in a Jewish family in Kiev in 1910, and her great-granddaughter Julia, whose family moved to the United States from Ukraine in the wake of the events at Chernobyl. Lola has gone through the Bolshevik revolution, the Civil War, the Stalinist purges, deportation to Kazakhstan, and the Chernobyl disaster and these are her real-life memoirs that lay the foundation for the novel. The chapters telling Lola’s story are alternated with shorter interludes from the contemporary life of the second protagonist, Julia, a representative of the generation of millennials, who are struggling to come to terms with their idealistic views on life and politics amidst the changing world order. Alekseyeva, who is a PhD student in Comparative Literature at Harvard University, works on avant-garde cinema in the USSR, Japan, and France, and her academic interest in visual narrative techniques has deeply affected her work on the graphic novel. The story-telling in Soviet Daughter is rich and intense, and also full of supplementary comments and explanations of various aspects of Soviet everyday life; however, the novel is very easy to read and grasps the readers attention from the very first pages. To this, the sincerity of Alekseyeva’s intonation contributes greatly. She does not shy away from being very honest about issues such as inter-generational misunderstanding, conflicts within family, and difficulties of the migrant experience yet at the same time she persistently maintains the tactful balance between a personal story-telling and a nearly academic inquiry into the experience of several generations of Soviet Jewish immigrants in America. The precursors of Alekseyeva’s novel are works such as Marjane Satrapi’s Persepolis, Art Spiegelman’s Maus, and Alison Bechdel’s Fun Home. Another major influence on Alekseyeva is actually Vladimir Mayakovsky, especially his work in Okna ROSTA. Soviet Daughter does, in fact, open by a quote from Mayakovsky. Julia Alekseyeva’s novel will be of much interest both to the broad readers audience, and also to the scholars of Soviet history, Jewish identity, and immigration. Into all of these themes it provides a fascinating insight. Olga Breininger is a PhD candidate in Slavic and Middle Eastern Studies at Harvard University. Her research interests include post-Soviet culture and geopolitics, with a special focus on Islam, nation-building, and energy politics. Olga is the author of the novel There Was No Adderall in the Soviet Union and columnist at Literratura. Learn more about your ad choices. Visit megaphone.fm/adchoices