Maxim Gorky was dubbed the father of socialist realism in the
Soviet period, but he had forged his career as an internationally
known novelist and dramatist some three or more decades earlier.
Posing questions that Soviet critics found difficult to confront,
the author examines the effects of exile and religion on the
content and form of the plays as well as the role played by women,
and the personal and political implications of motherhood. All
sixteen of Gorky's published plays are covered, and the book
explores whether this body of work has themes and styles to unify
it. While conflict is central to the core political themes and also
infiltrates many aspects of the dramatic style (cartoonish and
grotesque), other less expected themes and styles emerge. Viewing
the post-revolutionary plays as a development of earlier work leads
to a question rarely posed: are the plays written by Gorky in the
process of defining the new Party-inspired socialist realism in
fact less about socialist realist issues of conformity, and more
about Gorky's own painful life experience? And what is equally
under the microscope is a search for the monumental style
frequently associated with socialist realist theatre: the proposed
origins of the spatial grandeur in Gorky's plays come as a
surprise.
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