{"id":50116,"date":"2013-04-08T10:54:29","date_gmt":"2013-04-08T14:54:29","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=50116"},"modified":"2019-08-14T12:21:20","modified_gmt":"2019-08-14T16:21:20","slug":"new-emotion-on-kirill-medvedev","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/04\/08\/new-emotion-on-kirill-medvedev\/","title":{"rendered":"New Emotion: On Kirill Medvedev"},"content":{"rendered":"

\"Kirill_Medvedev\"<\/a>In 2006, a leading Moscow publisher issued Texts Published Without the Permission of the Author<\/i>, comprised of the works of a well-known Russian poet. Rather than a lawsuit, the book resulted in a literary symposium, accompanied by a debate about the nature of copyright and, finally, the first translation of Kirill Medvedev\u2019s works into English. In December 2012, It\u2019s No Good: poems\/essays\/actions<\/i><\/a>\u2014a compilation of the thirty-seven-year-old poet-activist\u2019s work\u2014was published, indeed, technically without the permission of the author, by n+1 <\/i>and Ugly Duckling Presse.<\/p>\n

Medvedev, a controversial figure in the contemporary Russian poetry scene, stopped publishing in 2003. He would continue to release poetry, essays, and calls to political action on his Web site<\/a>, LiveJournal<\/a>, and Facebook page<\/a>. But he renounced all rights to his own work. \u201cI have no copyright to my texts,\u201d he wrote in Manifesto on Copyright<\/i>, \u201cand cannot have any such right.\u201d He became more deeply involved in leftist activism. Some thought him washed up, a has-been, even crazy. Others were angered by what they deemed a gimmick.<\/p>\n

Critical of the post-Soviet liberal intelligentsia, makers of the culture who came to dominate an increasingly booming nineties Russia, Medvedev\u2014who was born in Moscow in 1975\u2014and his work issue directly from the tradition he critiques; his father was a well-known post-Soviet journalist. A decisive moment of separation might be found in his abdication of the most basic literary right. <\/p>\n

\u201cThe average cultural consciousness is a putrid swamp,\u201d Medvedev writes in his essay \u201cMy Fascism\u201d (2004), \u201chalf-Soviet, half-bourgeois\u2014in which Pushkin, Dostoevsky, Josef Stalin, the pop star Alla Pugachev, and Jesus Christ all lie side by side, dead and decomposing.\u201d Privatized, commodified, and depoliticized, the neoliberal artistic consciousness is blind to the connection between cultural production and the distribution of money and power.<\/p>\n

In his introduction to It\u2019s No Good<\/i>, Keith Gessen imagines the American writer weighing the pros and cons of various publishers owned by multinational corporations: \u201cOn the other hand HarperCollins, with which I\u2019d also published a book, is owned by Rupert Murdoch\u2019s right-wing media empire, NewsCorp\u2014a lot more like Exxon-Mobil [than Viking-Penguin is]. On the third hand, Harper is the only major New York publisher whose employees have formed a union. And on the fourth hand \u2026Medvedev cut through all of this,\u201d he concludes. This consistency impresses Gessen.<\/p>\n

Before breaking from the literary world, in his midtwenties Medvedev published two collections of poetry: Everything is Bad<\/i> (or It\u2019s No Good<\/em>) and Incursion<\/i>. His poems are autobiographical free verse, unusual in Russia, and were dismissed by some critics as not really poetry. For years he translated Charles Bukowksi into Russian.<\/p>\n

Medvedev\u2019s poetry\u2014casual, often explicitly political, humorous; even silly at times\u2014fiercely diagnoses the banality and disease of Putin-era Russia. A lonely and alienated narrator-fl\u00e2neur wanders Moscow, sharply aware yet stupefied. After familiarizing oneself with Medvedev\u2019s eye, one becomes at home with his rhythm, develops affection for his subtle and poignant observations: cheap p\u00e2t\u00e9 amid a mega-grocery store, \u201cthe syrupy poison of empathy\u201d we feel at others\u2019 misfortunes, wonder at the intense loneliness of a newborn\u2019s first six months of life.<\/p>\n

In his essays, Medvedev calls for a reclamation of the Russian language and, therefore, of literary culture, from the comfortable stability of post-Soviet Russia. The years following perestroika, characterized by privatization, conformism, and alienation, made Russian not just meaningless, Medvedev argues, but empty and impotent. \u201cEither the word becomes an actual act,\u201d he writes in \u201cMy Fascism,\u201d \u201cor it loses all its force entirely.\u201d<\/p>\n

Medvedev joined a small socialist party called Vpered (\u201cForward\u201d), becoming editor of its Web site. He describes a literary culture bloated with the self-important aesthetic of sincerity in \u201cLiterature Will Be Tested\u201d (2007), where \u201cpersonal projects\u201d of self-expression take the place of critical perspective\u2014what Medvedev calls \u201cthe new emotionalism.\u201d In 2007, he founded the Free Marxist Press, which publishes the works of Marxist thinkers like Ernest Mandel, Pier Paolo Pasolini, Herbert Marcuse, and Terry Eagleton, as well as Russians.<\/p>\n

*<\/center>Gorbachev\u2019s glasnost and perestroika allowed for an expanding sense of freedom of speech and a recognition of the past formerly unimaginable. The liberal intelligentsia cheered. But what to do with a previously controlled history once exposed? Historian Eric Hobsbawm disputed the notion that history is a prophylactic against unwanted futures: it\u2019s what you do with knowledge of the past that will determine what follows. With the passage of time, the buried effects of old atrocities resurface as mourning, commemoration, and debate and either change or become stuck -as is Medvedev\u2019s concern- in the stale grip of fearful collective memory and newfound material comfort, obscuring contemporary reality and stagnating society.<\/p>\n

Hunger for broader \u201cworld culture,\u201d intensifying over the seventy-four years of Soviet control, came to a head for those Russians able to cash in on the country\u2019s economic prosperity in the nineties and early naughts. For the intelligentsia, the great hope of the nineties might have been the creation of a truly humanist ideology. Instead, Medvedev argues, they failed \u201cto work out, within [themselves], the ability to understand and accept something outside their own personal \u2018identity.\u2019\u201d A Russian neoliberalism dedicated to becoming on par with the West naturalized a culture of corporate capitalism. Luxury goods and Western cultural exports were devoured with gusto. Publishing boomed.<\/p>\n

In the mid\u2014twentieth century, Soviet state control exerted a political constraint on the arts by imposing the notorious aesthetic of \u201csocialist realism.\u201d In contrast, Medvedev identifies a different constraint exerted seventy years later, not by political decree but by the more subtle, and perhaps more irresistible, force of self-interest and private property.<\/p>\n

In the decade following Putin\u2019s 1999 rise to power, many citizens of the former Soviet Union embraced a sometimes suffocating stability, even in exchange for democratic liberties. The nineties had ushered in a widespread mainstream disillusionment with a long-imagined but insufficient democracy. A 2011 poll<\/a> found that fifty-three percent of Russians value \u201corder\u201d over human rights.<\/p>\n

Meanwhile, art was increasingly treated as separable from political and corporate reality. Central to his critique is Medvedev\u2019s rejection of the artist-as-private-citizen ideal as embodied in the Soviet poet-hero Joseph Brodsky, who popularized the notion in his 1987 Nobel Prize address. Exiled from the Soviet Union in the seventies, Brodsky is upheld as a great symbol of freedom of speech and artistic independence by the American and Russian lefts (recently, parallels were drawn between him and Pussy Riot; Medvedev\u2019s activist folk band, Arkady Kots, was detained by police for performing in support of Pussy Riot in April 2012).<\/p>\n

But Medvedev identifies the cultish following of such faux-purity as naively apolitical, an irresponsible passivity that ignores the interconnectedness of art and politics, most obvious in the artist or intellectual\u2019s uncritical acceptance of money and exposure. Gessen writes, \u201cTo play within the system is to play by its rules; you could choose, also, to walk away, and that\u2019s what Medvedev did.\u201d<\/p>\n

Logically, Medvedev\u2019s answer to individualized disconnectedness calls for a synthesis of twentieth-century leftist political and intellectual thought, \u201ca situation where several senses of the word \u2018humanism\u2019 begin to collide.\u201d Where something from poetry meets something from philosophy; where postmodernism, logocentrism, psychology, culture and counterculture, \u201cand probably something else, too, that we haven\u2019t though of yet,\u201d writes Medevedev, join to form \u201ca new shared understanding of humanity.\u201d Only in this utopian future society could the artist as private citizen responsibly exist and create.<\/p>\n

If Medvedev seems highfalutin or simplistically ingenuous, this may speak more to the American postcapitalist context in which he is judged than to his sincerity. The Russian equivalent of David Foster Wallace\u2019s \u201cNew Sincerity\u201d\u2014the idea that a post-postmodern literary rebellion will have to risk eye-rolling cynicism in its genuine belief in something\u2014was defined by nineties dissident poet Dmitry Prigov and critic Mikhail Epstein in response to the abstraction and postmodernism that dominated late and post-Soviet culture. \u201cPostconceptualism, or the New Sincerity, is an experiment in resuscitating \u2018fallen,\u2019 dead languages with a renewed pathos of love, sentimentality and enthusiasm,\u201d wrote Epstein in \u201cA Catalogue of New Poetries.\u201d This is Medvedev\u2019s \u201cnew emotionalism.\u201d<\/p>\n

\u201cIn the new situation,\u201d Medvedev writes in \u201cLiterature Will Be Tested,\u201d \u201cwhen a long-repressed freedom of expression mingles with neoliberalism, it is God again who starts to speak through the poet. And this God is nothing but the rumblings, the convulsions, the subterfuges of capitalism itself \u2026\u201d This form of sincerity has misled artists to apolitically navel-gaze in \u201cflaccid tolerance\u201d\u2014to reject responsibility and collectivity in favor of individual feeling and experience that at its most extreme \u201ccomes down to a single question that today hangs over our country and our world: What does it matter that a fraud took place if everyone\u2019s happy?\u201d It\u2019s for a sincere belief in something beyond the self that Medvedev searches.<\/p>\n

\u201cThis is not a heroic pose, or a publicity stunt,\u201d Medvedev wrote of rejecting copyright. \u201cIt is a particular, necessary self-limitation \u2026 if the mainstream, represented in my person, adopts such a half-underground and, as far as possible, independent position, then, maybe, there will be more honest, uncompromising, and genuinely contemporary art in my country.\u201d It may feel instinctual not to believe him\u2014or to assume that no one will follow. But what if they did?<\/p>\n

Lucy McKeon<\/a> is a writer based in New York<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

In 2006, a leading Moscow publisher issued Texts Published Without the Permission of the Author, comprised of the works of a well-known Russian poet. Rather than a lawsuit, the book resulted in a literary symposium, accompanied by a debate about the nature of copyright and, finally, the first translation of Kirill Medvedev\u2019s works into English. […]<\/p>\n","protected":false},"author":406,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[1114,10581,10580,10577,10579,5810,587,10575,10582,208,10578,165,447,2214,10576],"class_list":["post-50116","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-charles-bukowski","tag-dmitry-prigov","tag-eric-hobsbawm","tag-ernest-mandel","tag-herbert-marcuse","tag-joseph-brodsky","tag-keith-gessen","tag-kirill-medvedev","tag-mikhail-epstein","tag-n1","tag-pier-paolo-pasolini","tag-poetry","tag-russia","tag-terry-eagleton","tag-ugly-duckling-presse"],"acf":[],"yoast_head":"\nNew Emotion: On Kirill Medvedev by Lucy McKeon<\/title>\n<meta name=\"description\" content=\"April 8, 2013 \u2013 In 2006, a leading Moscow publisher issued Texts Published Without the Permission of the Author, comprised of the works of a well-known 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