The remarkable story of seven contemporary Russian-language poets whose experimental work anchors a thriving dissident artistic movement opposed to both Putin’s regime and Western liberalism. What does leftist art look like in the wake of state socialism? In recent years, Russian-language avant-garde poetry has been seeking the answers to this question. Marijeta Bozovic follows a constellation of poets at the center of a contemporary literary movement that is bringing radical art out of the Soviet shadow: Kirill Medvedev, Pavel Arseniev, Aleksandr Skidan, Dmitry Golynko, Roman Osminkin, Keti Chukhrov, and Galina Rymbu. While their formal experiments range widely, all share a commitment to explicitly political poetry. Each one, in turn, has become a hub in a growing new-left network across the former Second World. Joined together by their work with the Saint Petersburg–based journal [Translit], this circle has staunchly resisted the Putin regime and its mobilization of Soviet nostalgia. At the same time, the poets of Avant-Garde Post– reject Western discourse about the false promises of leftist utopianism and the superiority of the liberal world. In opposing both narratives, they draw on the legacies of historical Russian and Soviet avant-gardes as well as on an international canon of Marxist art and theory. They are also intimately connected with other artists, intellectuals, and activists around the world, collectively restoring leftist political poetry to global prominence. The avant-garde, Bozovic shows, is not a relic of the Soviet past. It is a recurrent pulse in Russophone—as well as global—literature and art. Charged by that pulse, today’s new left is reimagining class-based critique. Theirs is an ongoing, defiant effort to imagine a socialist future that is at once global and egalitarian.

From the German Black Forest to the Romanian and Ukrainian shores where it flows into the Black Sea, Europe's second longest river connects ten countries, while its watershed covers four more. The Danube serves as an artery of a culturally diverse geographic region, frustrating attempts to divide Europe from non-Europe, and facilitating the flow of economic and cultural forms of international exchange. Yet the river has attracted surprisingly little scholarly attention, and what exists too often privileges single disciplinary or national perspectives. Adopting a multidisciplinary approach to the river and its cultural imaginaries, the anthology Watersheds: Poetics and Politics of the Danube River remedies this neglect and explores the river as a site of transcultural engagement in the New Europe. Contributions by Katherine Arens, Micaela Baranello, Marijeta Bozovic, Robert Dassanowsky, Dragan Kujund, Jessie Labov, Robert Lemon, Amanda Lerner, Tomislav Longinovi, Juliana Maxim, Matthew D. Miller, Robert Nemes, Tanya Richardson, Karl Solibakke, Jennifer Stob, Henry Sussman.

An unprecedented survey of artists in exile from the 19th century through the present day, with notable attention to Asian, Latin American, African American, and female artists This timely book offers a wide-ranging and beautifully illustrated study of exiled artists from the 19th century through the present day, with notable attention to individuals who have often been relegated to the margins of publications on exile in art history. The artworks featured here, including photography, paintings, drawings, prints, and sculpture, present an expanded view of the conditions of exile-forced or voluntary-as an agent for both trauma and ingenuity. The introduction outlines the history and perception of exile in art over the past 200 years, and the book's four sections explore its aesthetic impact through the themes of home and mobility, nostalgia, transfer and adjustment, and identity. Essays and catalogue entries in each section showcase diverse artists, including not only European ones-like Jacques-Louis David, Paul Gauguin, George Grosz, and Kurt Schwitters-but also female, African American, East Asian, Latin American, and Middle Eastern artists, such as Elizabeth Catlett, Harold Cousins, Mona Hatoum, Lotte Jacobi, An-My Le, Matta, Ana Mendieta, Abelardo Morell, Mu Xin, and Shirin Neshat. Distributed for the Yale University Art Gallery Exhibition Schedule: Yale University Art Gallery (09/01/17-12/31/17)

Nabokov Upside Down brings together essays that explicitly diverge from conventional topics and points of reference when interpreting a writer whose influence on contemporary literature is unrivaled. Scholars from around the world here read Nabokov in terms of bodies rather than minds, belly-laughs rather than erudite wit, servants rather than master-artists, or Asian rather than Western perspectives. The first part of the volume is dedicated to surveys of Nabokov's oeuvre that transform some longheld assumptions concerning the nature of and significance of his work. Often thought of as among the most cerebral of artists, Nabokov comes across in these essays as profoundly aware of the physical world, as evidenced by his masterly representation of physical movement, his bawdy humor, and his attention to gustatory pleasure, among other aspects of his writing. The volume's second half focuses on individual works or phases in Nabokov's career, noting connections among them as well as to other fields of inquiry beyond literature. Engaged in conversation with each other and, in his editorial comments, with Brian Boyd, the essays in this volume show Nabokov scholarship continuing to renew itself.

Nabokov Upside Down brings together essays that explicitly diverge from conventional topics and points of reference when interpreting a writer whose influence on contemporary literature is unrivaled. Scholars from around the world here read Nabokov in terms of bodies rather than minds, belly-laughs rather than erudite wit, servants rather than master-artists, or Asian rather than Western perspectives. The first part of the volume is dedicated to surveys of Nabokov’s oeuvre that transform some longheld assumptions concerning the nature of and significance of his work. Often thought of as among the most cerebral of artists, Nabokov comes across in these essays as profoundly aware of the physical world, as evidenced by his masterly representation of physical movement, his bawdy humor, and his attention to gustatory pleasure, among other aspects of his writing. The volume’s second half focuses on individual works or phases in Nabokov’s career, noting connections among them as well as to other fields of inquiry beyond literature. Engaged in conversation with each other and, in his editorial comments, with Brian Boyd, the essays in this volume show Nabokov scholarship continuing to renew itself.