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I am grateful to Bruce Rosenstock and Anna Kaladiouk for their helpful comments on this chapter.

1. See Joanna Hubbs, “From Saindy Son to Autocratic Father: The Myth of the Ruler” in Hubbs, Mother Russia: The Femine Myth in Russian Culture (Bloomington: Indiana University Press, 1988), 167–206.

2. See Nina Perlina, “From the Editors,” Russian Review 51, no. 2 (April 1992): v and 156 of the same issue, where Perlina discusses the symbolic adoption of the revolutionary heroine Larisa Reisner into a divinized and patriarchal Bolshevik Pantheon.

3. Aleksandra Kollontai, “Revoliutsia byta,” reprinted in Iskusstvo kino 6 (1991): 108.

4. Cited by Maia Turovskaia, “Zhenshchina i kino,” Iskusstvo kino 6 (1991): 136.

5. Ibid., 137. For more on gender roles and the culture of Stalinism, see Beth Holmgren, Women’s Works in Stalin’s Time: On Lydiia Chukovskaia and Nadezhda Mandelstam (Bloomington: Indiana University Press, 1993), 5–14.

6. For comparable trends in other parts of the world and other historical time periods, see Gender and History: Special Issue on Gender, Nationalisms and National Identities 5, no. 2 (Summer 1993), and in particular Samita Sen’s “Motherhood and Mothercraft: Gender and Nationalism in Bengal,” 231–43 and Beth Baron, “The Construction of National Honor in Egypt,” 244–55. For a comparable discussion of gender and nationalism in the Ukraine, see Solomea Pavlychko, “Between Feminism and Nationalism: New Women’s Groups in the Ukraine,” in Perestroika and Soviet Women, ed. Mary Buckley (Cambridge: Cambridge University Press, 1992), 82–96.

7. Irina Sheveleva, “Zhenskoe i materinskoe …,” Nash sovremennik 3 (1988): 165–68. Further references to this work will be included parenthetically in the text.

8. Slavenka Drakulic, How We Survived Communism and Even Laughed (New York: Harper Perennial, 1991), 107.

9. See Evgenia Semyonovna Ginzburg, Journey into the Whirlwind (New York: Harcourt Brace, 1967) and Within the Whirlwind, 1979.

10. See for example Larissa Lissyutkina, “Soviet Woman at the Crossroads of Perestroika,” in Gender Politics and Post-Communism: Reflections from Eastern Europe and the Former Soviet Union, ed. Nanette Funk and Magda Mueller (New York: Routledge, 1993), 274–86.

11. Ksenia Mialo, “V kakom sostoianii nakhoditsia russkaia natsiia,” Nash sovremennik 3 (1993): 153.

12. Sheveleva, “Zhenskoe i materinskoe,” 168.

13. Mikhail Bakhtin, “Appendix II,” in Bakthin, Problems of Dostoevsky’s Poetics, ed. and trans. Caryl Emerson (Minneapolis: University of Minnesota Press, 1984), 287.

14. For a sympathetic study of village prose, see Kathleen F. Parthe, Russian Village Prose: The Radiant Past (Princeton: Princeton University Press, 1992).

15. David Gillespie, “A Paradise Lost? Siberia and Its Writers, 1960 to 1990,” in Between Heaven and Hell: The Myth of Siberia in Russian Culture, ed. Galya Diment and Yuri Slezkine (New York: St. Martin’s, 1993), 253.

16. Valentin Rasputin, “Proshchanie s Materoi,” in Poslednii srok, Proshchanie s Materoi: Povesti i rasskazy (Moscow: Sovetsii pisatel’, 1985), 228.

17. Ibid., 285.

18. Ibid., 237.

19. Barbara Heldt, “Gynoglasnost: writing the feminine,” in Buckley, Perestroika and Soviet Women, 167.

20. Gillespie, 261.

21. For Plato, see Bruce Rosenstock, “Athena’s Cloak: Plato’s Critique of the Democratic City in the Republic,” forthcoming in Political Theory. The triad of fashion, illness, and fat appears in Tolstoy’s “Kreutzer Sonata.”

22. Cited by Rasputin, “Cherchez la Femme,” Nash sovremennik 3 (1990): 168.

23. See, for example, Chapter 6, “Feminism and Hysteria: The Daughter’s Disease,” of Elaine Showalter, The Female Malady: Women, Madness, and English Culture, 1830–1980 (New York: Penguin Books, 1985), 145–64; and also In Doras Case: Freud-Hysteria-Feminism, ed. Charles Bernheimer and Claire Kahane (New York: Columbia University Press, 1985).

24. Rasputin, “Cherchez la Femme,” 169.

25. For more on Dunia, see Nina Pelikan Straus, Dostoevsky and the Woman Question: Re-Readings at the End of a Century, forthcoming from St. Martin’s Press.

26. “Russofobiia” was first circulated in samizdat’ form and was first published in Nash sovremennik in 1989.

27. Rasputin, “Cherchez la Femme,” 171.

28. Ibid., 171.

29. Vasilii Belov, “Vospitanie po doktoru Spoku” In Belov, Izbrannye proizvedniia v trekh tomakh, vol. 2 (Moscow: Sovremennik, 1983), 305.

30. For more on the folklore of the rusalki, see Hubbs, Mother Russia, 27–36.

31. Belov, “Vospitanie,” 317.

32. “V kakom sostoianii nakhoditsia russkaia natsiia,” Nash sovremennik 3 (1993): 148.

33. See Natal’ia Ivanova, “Russkii vopros,” Znamia 1 (1992): 192.

34. For more on Gorenshtein and the controversy surrounding his works, see my “A Curse on Russia: Gorenshtein’s Anti-Psalom and the Critics,” Russian Review 52 (April 1993): 213–27.

35. Fridrikh Gorenshtein, “Poslednee leto na Volge,” Znamia (January 1992): 35. Further references to this work will be included parenthetically in the text.

36. A literary precedent for some aspects of the narrator’s relationship with Liuba may be found in Dostoevsky, whom the narrator mentions more than once in the story. In The Idiot the Swiss peasant girl Marie, seduced and abandoned by her lover, now ill with tuberculosis, is the target of the local children, who throw stones at her. Prince Myshkin becomes her benefactor and teaches the children to love her. In “Last Summer” the local children throw stones at Liuba, but the narrator cannot defend her. She defends him against the oldest one, a teenage bully.

37. One of Ivanova’s many essays has recently been translated into English. See Natal’ia Ivanova, “Bakhtin’s Concept of the Grotesque and the Art of Petrushevskaia and Tolstaia,” in Fruits of Her Plume: Essays on Contemporary Russian Women’s Culture, ed. Helena Goscilo (Armonk, N.Y.: M. E. Sharpe, 1993), 21–32.

38. Ivanova, “Russkii vopros,” 200.

39. I take the phrase from ibid., 204.

40. For translations of Tolstaia, see, for example, On the Golden Porch, trans. Antonia W. Bouis (New York: Random House, 1989); for Petrushevkaia, see, for example, “Our Crowd,” in Helena Goscilo and Byron Lindsey, eds., Glasnost: An Anthology of Russian Literature under Gorbachev (Ann Arbor, Mich.: University of Michigan Press, 1990).

41. Helena Goscilo, “Speaking Bodies: Erotic Zones Rhetorized,” in Fruits of Her Plume, 140.

42. Helena Goscilo, “Monsters Monomaniacal, Marital, and Medical,” in Sexuality and the Body in Russian Culture, ed. Jane T. Costlow, Stephanie Sandler, and Judith Vowles (Stanford: Stanford University Press, 1993), 217. For more on the image of the body in recent fiction, see the introduction to this collection.

43. For a study of “hospital prose,” see Helena Goscilo, “Women’s Wards and Wardens: The Hospital in Contemporary Russian Women’s Fiction,” Canadian Woman Studies 10, no. 4 (Winter 1989): 83–86.

44. Julia Kristeva, “Stabat Mater,” in The Female Body in Western Culture: Contemporary Perspectives, ed. Susan Robin Suleiman (Cambridge: Harvard University Press, 1986), 99.

45. Natali’ia Sukhanova, “Delos,” in Chistenk’kaia zhizn’ (Moscow: Moladaia gvardiia, 1990), 321.

46. For a discussion that emphasizes Sukhanova’s anti-abortion stance, see Heldt, “Gynoglasnost,” 468–69.

47. See Iulia Voznesenskaia, Zhenskii dekameron (Tel-Aviv: Zerkalo, 1987). All references will be given parenthetically in the text. For a somewhat abridged English translation, see Julia Voznesenskaya, The Women’s Decameron, trans. W. B. Linton (New York: Quartet Books, 1986).

48. Marina Palei, “Preface” to “Den’ topolinogo pukha,” in Novye Amazonki, ed. S. V. Vasilenko (Moscow: Moskovskii rabochii, 1991), 276. I am grateful to Ol’ga Borovaia for presenting me with this collection.

49. See, for example, Costlow et al., “Introduction” to Sexuality and the Body, 32.

50. Marina Palei, “Kabiriia s obvodnogo kanala,” Novyi mir (March 1991), no. 3: 48–81.

51. See Laura Mulvey, “Visual Pleasure and Narrative Cinema,” Screen 16, no. 3 (Autumn 1975): 6–18.

52. For more on Palei and the gaze, see Goscilo, “Speaking Bodies,” 156–57.

53. Irina Polianskaia, “Chistaia zona,” in Vasilenko, Novye Amazonki, 32.