Antisemitism has had a long and complex history in Russian intellectual life and has revived in the post-Communist era. In their concept of the identity of the Jewish people, many academics and other thinkers in Russia continue to cast Jews in a negative or ambivalent role. An inherent rivalry exists between "Russia" and "the Jews" because Russians have often viewed themselves-whether through the lens of atheistic communism or that of the most conservative elements of the Orthodox Church-as a chosen people whose destiny is to lead the way to world salvation. In this book, Vadim Rossman presents the foundations and present influence of intellectual antisemitism in Russia. He examines the antisemitic roots of some major trends in Russian intellectual thought that emerged in earlier decades of the twentieth century and are still significant in the post-Communist era: neo-Eurasianism, Eurasian historiography, National Bolshevism, neo-Slavophilism, National Orthodoxy, and various forms of racism. Such extreme right-wing ideology continues to appeal to a certain segment of the Russian population and seems unlikely to disappear soon. Rossman confronts and challenges a range of disturbing, sometimes contradictory, but often quite sophisticated antisemitic ideas posed by Russian sociologists, historians, philosophers, theologians, political analysts, anthropologists, and literary critics.

Nikolay Punin (1888-1953) was the most articulate Russian/Soviet art critic of the 1920s. He strongly advocated Constructivism, an avant-garde impulse that favored mechanomorphic abstraction and proclaimed a movement to bring art into the center of popular life. In the United States, he is perhaps best remembered for his love affair with Anna Akhmatova, one of the great poets of the twentieth century.

This volume presents the first English translation of ten diary notebooks that Punin wrote between 1915 and 1936, as well as selections from his earlier (1904-1910) and later (1941-1946) diaries and some thirty notes and letters relating to his affair with Anna Akhmatova. These materials offer a rare glimpse into the life of art and artists in Russia. They also present vivid scenes from the 1905 Revolution, World War I, the 1917 Revolutions, World War II, and Stalinist oppression through the reflections of a talented man, who, unlike many of his generation, lived to tell the tale.

Osip Mandelstam visited Armenia in 1930, and during the eight months of his stay he rediscovered his poetic voice and was inspired to write an experimental meditation on the country and its ancient culture. 'Armenia brought him back to his true self, a self depending on the "inner ear" which could never play a poet false. There was everything congenial to him in this country of red and ochre landscape, ancient churches, and resonant pottery.' (Henry Gifford). Conversation about Dante, Mandelstam's incomparable apologia for poetic freedom and challenge to the Bolshevik establishment, was dictated by the poet to his wife, Nadezhda Mandelstam, in 1934-35, during the last phase of his itinerant life. It has close ties to the Journey.

Osip Mandelstam, who died anonymously in a Siberian transit-camp in 1938, is now generally considered to be among the four or five greatest Russian poets of the twentieth century. The essays in this volume, presented in an exceptionally scrupulous and true translation, were selected because they represent Mandelstam's major poetic themes and his thought on literature, language and culture, and the work and place of the poet. Mandelstam's views on literature are profound and original, and they are expressed in striking and dramatic, if sometimes difficult, prose. These essays deal with such topics as the poetic process and the relationship of poetry to politics, culture, the traditions of the past, and the demands of the present.

Professor Monas's lively introduction to the work and life of Mandelstam combines the virtues of both the critical essay and detached scholarship. Keeping biographical detail to a minimum, Professor Monas concentrates on the pattern that runs through the essays and lends them that coherence often noted in Mandelstam's poetry.