In the USSR, marginality was the unavoidable fate of writers, artists and musicians not willing to obey the regime's requirements, on the esthetic as well as on the political level. When (at different times) they accepted this fate, and began to regard as compromising any attempt at official recognizing, marginality attained the thematic level, too – as can be seen in the works of the “Lianozovo group” members, such as painter Oksar Rabin or poet Igor Kholin. As Benedikt Erofeev's famous novel “Moskva-Petushki” shows, the whole Soviet society was, at one time, perceived as composed of outskirts, with no real center left.With the fall of the USSR, the situation changed radically – and not many of the previous heroes of the underground attained success in post-Soviet Russia. It is, thus, surprising to find similar marginals as the characters of Bibliotekar, the 2008 Russian Booker-prize winner, written by Mikhail Elizarov, born in 1973. More so, the novel is full of a bitter-sweet, although slightly ironic, nostalgia for the Soviet past, its heroes are the dropouts of the fall of the Socialist state.The personal history of Eduard Limonov can offer a key to this striking coincidence: he started as an underground poet, connected to the Lianozovo group, emigrated to the USA, where he published his first scandalous novels, then returned to post-Soviet Russia, where he founded the quasi-fascist, and openly nostalgic, National-Bolshevik Party. His trajectory can be interpreted as an esthetic rather than a political one: his choice is to stand fast on the margins of society, wherever they might be.
|Titolo della pubblicazione ospite||Voci dal margine: La letteratura di ghetto, favela, frontiera|
|Numero di pagine||11|
|Stato di pubblicazione||Published - 2012|