Sots-art, the mock use of the Soviet ideological cliches of mass
culture, originated in Soviet nonconformist art of the early 1970s.
In literature, Sots-art stands out as one of the most distinct
directions in late-twentieth-century Russian culture both in its
explicit aesthetic confrontation with Soviet history and in its
capacity, after many decades of socialist realism, to integrate
Russian literature back into the world literary process. Sots-art
has had a profound influence on contemporary Russian literature,
figuring both as distinct texts and as a range of citational
devices within larger, more diverse works; yet despite its
centrality, Sots-art in literature has not been systematically
studied, either in Russia or in the West. Endquote: Sots-art
Literature and Soviet Grand Style begins that process with an
examination of literary Sots-art on several levels.
The book is divided into three parts, the first conceptual, the
second on Sots-art poetry, and the third on Sots-art prose. While
conceptualism is a vast international movement, Sots-art (with its
focus on Soviet cultural history) reworks more local artistic
practices and ideological cliches. At the same time, in its
reflection of the specific cultural character of Russian
conceptualism and Russian postmodernism as a whole, Sots-art
articulates the crisis of relations between contemporary Eastern
and Western cultural models. Both inside Russia, where the 1991
collapse of communism rendered the cultural landscape difficult to
comprehend, and in Western scholarship, with its crisis of
traditional Sovietological matrices, the examination of emergent
models structuring the contemporary literary process is a task
central to anunderstanding of Russian culture since the collapse of
the "Great Utopia." Endquote provides original and informative
guidance in this attempt.
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