In Iulian Semenov's 1969 Seventteen Moments of Spring the hero's (a Soviet undercover agent in Nazi Germany) nostalgia for the motherland is so strongly underscored thtat it becomes ridiculous. Such a stress on nostalgia was, as it appears, necessary in order to compensate the envy the reader would fatally feel for the comfort of his "European" life among the enemy. The double agent became, in fact, an allegory of the "double life" of the soviet citizen in the Seventies, regardless of the fact that the novel was sponsored by the KGB. Or was this an intentional projection of Iurii Andropov's self-constructed image?
|Title of host publication||Disappartenenze: figure del distacco e altre solitudini nelle letterature dell'Europa centro-orientale|
|Number of pages||22|
|Publication status||Published - 2016|