![]() 4:225-26 Aleksei Chagin, “Kursiv vremeni,” Literaturnaia gazeta, 19 April 1988, 4 and P. 9: 216–21 Google Scholar Evgenii Shklovskii, “Utselevshaia,” Znamia, 1996, no. See Kostyrko, Sergei, “ Vyzhit’ chtoby zhit´,” Knizhnoe obozrenie, 1991, no. Soviet critics of the Gorbachev period are much more positively inclined. For examples of unfavorable reviews, see Blake,, “ Italics“ also Tat´iana Ossorguine, “Kak eto bylo: po povodu dvukh knig Niny Berberovoi,” Cahiers du Monde russe et soviétique 31 ( 1990): 95– 102 Google Scholar, and Roman Gul“s Odvukon´: Sovetskaia i emigrantskaia literatura (New York, 1973), 282-90. In a passage deleted from Radley's translation, Berberova positions homosexuality among other evils plaguing her contemporaries: “My craft (and the life that came about as a result of my craft) placed me among drunks, homosexuals, drug addicts, neurotics, suicides, failures among whom many considered good to be more boring than evil and dissipation a necessary characteristic of a literary figure. Hughes, and Irina Paperno, eds., Cultural Mythologies of Russian Modernism (Berkeley, 1992), 52-72 and Karlinsky, Simon, “ Introduction: Who Was Zinaida Gippius?” in Zlobin, Vladimir, A Difficult Soul: ZinaidaGippius ( Berkeley, 1980), 1– 21 Google Scholar. 4 ( 1999): 621–35 CrossRef Google Scholar Olga Matich, “Dialectics of Cultural Return: Zinaida Gippius’ Personal Myth,” in Boris Gasparov, Robert H. On Gippius´s sexual orientation, hermaphrodism, and Berberova's take on it, see Presto, Jenifer, “ Reading Zinaida Gippius: Over Her Dead Body,” Slavic andEast European Journal 43, no. And she was not a woman.“ Berberova, Italics, 244. ![]() “There can be no doubt she artificially worked up in herself two features of her personality: poise and femininity. Berberova's connections with men and women in her life-described by herself, seen by others, reflected in her fiction-all point to a pivotal concern with the strengths and weaknesses of her own gender.ĥ. Paying attention to the struggle for physical and spiritual survival, the focus of Berberova's writing in general, affords an understanding of what the author deems necessary in order to overcome the hardships of emigration, the challenges of failed relationships, and the hazards of being a woman writer. A close look at the nature of autobiography, with its careful construction of a public self, offers insight into the way Berberova wants others to see her. Berberova's autobiography, as well as her fictional and biographical writings, provide a fertile ground for investigating the author's frame of reference from the point of view of her gender. This article aims to identify prevalent concerns and anxieties informing Berberova's works, whether designated as fiction, biography, fictionalized history, or autobiography to observe what is hidden behind the public facade of the autobiographical self and to determine how the fictional and the autobiographical are connected in the writer's narratives.
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