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La literatura rusa de la epoca sovietica

1917-1941

Después de la Revolución de Octubre la literatura rusa entró en cierta desconexión con Occidente, por lo cual se conoce muy poco, fuera de algunos autores.

After the October of 1917 most of the Silver Age authors didn’t embrace the new bolshevik regime, and fled the country, most of them for good, and they gave birth to Russian literature in exile, the literature of émigrés. (see Literatura rusa en emigración)

Those who stayed in Russia to share its fate and destiny with its people experienced creative upsurge, but soon their beliefs and hopes for the future of the country came into conflict with what they daily saw, and soon they were executed, slowly killed by the terrible lack of virtually everything during la Guerra Civil Rusa, stopped from publication or intimidated into total silence. Los escritores quienes no apoyan la revolucion incondicionalmente son eliminados, arrinconados, emigrados o marginados. In one way or another, the new Soviet state is responsible for the deaths of Aleksandr Blok, Velimir Jlebnikov, Nikolai Gumiliov, Osip Mandelstam, Nikolai Klyuev, León Karsavin, Pável Florenski, Marina Tsvetáyeva and many others. The circumstances of the deaths of Sergei Yesenin and Vladimir Maiakovski are still unclear and suspicious.

At the same time the first period of the new Soviet era was marked by a great diversity of literary trends, poetic voices, literary experiments. The time is characterized by the existence of a great number of literary groups that co-existed, argued, rivaled, changed their members, and generally were rather short-lived. Dentro también de las Vanguardias históricas, surgió también el Imaginismo fundado por Vadim Shershenevich (1893-1942), que reivindicaba la primacía de la imagen o metáfora sobre el símbolo y el retorno a la poesía tradicional; fue cultivado por Yesenin y Boris Pasternak (cuya poesía es más importante que su prosa, primero Sergéi Yesenin, Riurik Ivnev (1891-1981), Anatoli Mariengof). The talents of Yesenin y Boris Pasternak peaked. The pre-revolutionary poetic trend of acmeísmo still existed. Anna Ajmátova still wrote poetry though her publications were very limited and then stopped altogether. Futurismo y kubofuturismo ("Guiléia") (Vladimir Maiakovski, Velimir Jlebnikov, Boris Pasternak, Víktor Shklovski, Aleksei Kruchionij (1886-1968) flowered for a time. New groups such as OBERIU (Nikolai Zabolotski (1903-1958), Daniíl Jarms), dadaist “nichevoki” appeared. For the first time in human history the writers could participate in creating an entirely new world, and they jumped at the occasion. For example, Velimir Jlebnikov creó la poesía zaum o poesía transmental (magia, encantamiento a la manera de los hechiceros asiáticos. One should mention the titanic figure of el poeta y dramaturgo Vladimir Maiakovski, quien puso su talento al servicio de la Revolución. Marina Tsvetáyeva in many respects continued Ajmatova’s tradition, her poetry being the last reminiscence of the Silver Age. Poetry of such geniuses as Maiakovsky, Yesenin, Ajmatova, Pasternak, Tsvetáyeva broke all the limitations of this or that literary trend and group.

Besides those groups mentioned there existed los famosos "hermanos Serapión” (Vsevolod Ivanov, Mijail Slonimski (1897-1972), Mijail Zoschenko, Veniamin Kaverin, Konstantin Fedin, Nikolai Tijonov, Elizaveta Polonskaia (1890-1969)), “Pereval” (headed by the critic Aleksandr Voronski, poet Eduard Bagritski, writers Mijail Prishvin and Andrei Platonov y muchos otros), and associations of proletarian pro-communist writers Proletkult, RAPP (por ejemplo, Dmitri Furmanov, Aleksandr Fadéyev y muchos otros), LEF (Osip Brik, Nikolai Aseiev, Aleksei Kruchionij, for some time Boris Pasternak and some others).

The difference between those groups lay along the following lines: Los hermanos Serapion and “Pereval” advocated the humanistic values in art common for all nations, but other groups such as RAPP and LEF stood for the class approach to literature. Proletkult, RAPP and LEF members thought that literature and art had class character, and, consequently, works of art created by non-proletarian artists were to be abandoned and forgotten, as they were alien for the new society and ‘new people’. El Constructivismo (1923-1930) (Ilia Selvinski (1899-1968); Vladimir Lugovskoi (1901-1957)) cantó la transición del Estado capitalista al socialista y el triunfo del proletariado y fue la primera estética lírica propia de la proletkult o "cultura proletaria"; esta pretendía crear un arte esencialmente proletario y que exaltara el trabajo colectivo; los poetas cantan a la Revolución, a las máquinas y a los obreros. “Pereval” members, on the contrary, proclaimed that the main function of art was gnosis of the world, the main merit in a work of literature was not class content, but artistic quality, and they proclaimed the continuity of art, from ancient times to the new era.

Después de 1925 se enfrentan dos grupos literarios los ‘poputchiki’ o escritores que asistieron y acompañaron la revolución y los agrupados en la Asociación panrusa conocida por la abreviatura de RAPP y sostenida por el Estado. Estos últimos luchan contra el grupo de los "hermanos Serapión", contra los constructivistas y contra las diversas escuelas de vanguardia, reclamando una literatura menso formalista y más vulgar y asequible a las masas en fondo y forma. Algo así como las escuelas del sándalo y la berza en la literatura del Socialrealismo del año 1955 en España. In 1932, though, the groups were actually forbidden and all the writers were ‘offered’ to join the Union of Soviet writers, and administering literature began. In the 30s Russia was cut off from the whole world by the iron curtain, and they began eliminating the writers and artists disagreeable to the regime physically, allowing no further emigration.

The main literary trends of the period were new realism (the difference of the new realism from the classic realism of the 20th century lay in denying a human being private sheltered existence, man is part and parcel of social life, an active agent in changing the world. The leading representatives are Máximo Gorki, Mijaíl Shólojov, Alekséi Nikoláyevich Tolstói, Konstantin Fedin), normativismo (social utopia, the social is above the personal, an ideal man in ideal circumstances, reality is to be despised and destroyed for the sake of brilliant future. The leading representative is Aleksandr Fadéyev), modernismo (Evgeny Zamiatin, Yuri Olesha, Boris Pilniak. They continued the traditions of the Silver Age modernism and established the right of a human being to private life). In 1934 a new term ‘realismo socialista’ appeared, merging the ideas of new realism and normativismo.

Nevertheless, among the most outstanding prose writers of the time (20-30) we can name the following outstanding writers whose works are of interest to entire humanity: writer and publicist Iliá Erenburg, prosaics Máximo Gorki, Boris Pilniak, Marko Aguéiev, Mijaíl Bulgákov, Olga Forsh, Alekséi Nikoláyevich Tolstói, Konstantin Fedin, Andréi Platónov, Boris Lavreniov, Yuri Olesha, Valentin Katayev, Veniamin Kaverin, Pável Bazhov, satirists and humorists Mijail Zoschenko, Ilf y Petrov, writers dealing mostly with the Red Army effort in the Civil War Isaak Bábel, Dmitri Furmanov, Aleksandr Fadéyev, Nikolai Ostrovski, Aleksandr Serafimovich, science fiction and social fiction writers Alexander Beliaev, Yevgeni Zamiatin, Vladimir Obruchev, Aleksandr Chaianov, a piercingly beautiful, tragic and romantic Aleksandr Grin. There emerged writers describing the country world and nature of Russia, such as Mijail Prishvin, Yevgeni Charushin. Children’s literature was also addressed by the writers – and now the works of Kornei Chukovski, Arkadi Gaidar, Leon Kassil, “Tri tolstyaka” by Yuri Olesha and “Beleyet parus odinoki” by Valentin Katayev, poems by Samuil Marshak, Sergei Mijalkov are among the most treasured children’s books even now. The historical novel was developed by Vasili Yan, Aleksei Novikov-Priboi, Sergei Sergeiev-Tsenski, Anatoli Stepanov, Yuri Tynianov, Vyacheslav Shishkov, María Marich. Those authors were exploring the relationship between history and peronality, analyzing the role of peresonality in history. The best-known dramatists of the period are Nikolai Pogodin, Vsevolod Vishnevsky.

In the 30-s the first poems by Aleksandr Tvardovski and Mijail Isakovski appeared.