Roar, China!

Sino-Soviet creative convergence
by
June 2022, no. 443
Buy this book

Internationalist Aesthetics: China and early Soviet culture by Edward Tyerman

Columbia University Press, US$35 pb, 353 pp

Roar, China!

Sino-Soviet creative convergence
by
June 2022, no. 443
A gathering at the apartment of Mayakovsky and Brikov in Sokolniki, 1925. Standing (left to right): Mayakovsky, Osip Brik, Boris Pasternak, Sergei Tretyakov, Viktor Shklovsky, Lev Grinkrug, O.M. Beskin, P.V. Neznamov. Sitting: Elsa Triolet, Lilya Brik, R.S. Kushner, E.V. Pasternak, Olga Tretyakova. (photograph from Maïakovski by Elsa Triolet (1939)/Wikimedia Commons)
A gathering at the apartment of Mayakovsky and Brikov in Sokolniki, 1925. Standing (left to right): Mayakovsky, Osip Brik, Boris Pasternak, Sergei Tretyakov, Viktor Shklovsky, Lev Grinkrug, O.M. Beskin, P.V. Neznamov. Sitting: Elsa Triolet, Lilya Brik, R.S. Kushner, E.V. Pasternak, Olga Tretyakova. (photograph from Maïakovski by Elsa Triolet (1939)/Wikimedia Commons)

‘We are drawn to this China, even though we still do not know China,’ wrote Soviet avant-garde writer and theorist Sergei Tretyakov in 1925. ‘But we must get to know China, we must get to know it well, and we must get to know it quickly.’ Tretyakov’s call was underpinned by a real sense of political urgency: the failure of socialist revolutions across Europe had prompted a Soviet pivot toward Asia, and China had emerged as a potential partner for fostering ‘an international community of enemies of capital’. Yet despite being geographically adjacent, Russia and China had long perceived each other as unfamiliar and distant. In an effort to bridge this divide, a comprehensive cultural campaign was devised to draw China closer to the Soviet public.

Iva Glisic reviews 'Internationalist Aesthetics: China and early Soviet culture' by Edward Tyerman

Internationalist Aesthetics: China and early Soviet culture

by Edward Tyerman

Columbia University Press, US$35 pb, 353 pp

Buy this book

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