Description
Book SynopsisIt is commonly held among scholars that there was no mass literature in the Soviet Union during the Stalin years. What should we do, then, with Lev Ovalov's Major Pronin or with the stories of Lev Sheinin, which began to appear in the mid-1930s? And what about Nikolai Shpanov's post-war best-sellers? As The Soviet Spy Thriller demonstrates, the Soviet authorities did not like to admit that they published low-quality literature aimed at the uncultured masses, but they greatly valued its propaganda value. These works represented a break with the Red Pinkerton' tradition of the 1920s: the genre was being reinvented along new lines, with a new seriousness, and documentary pretensions.
The building of a new kind of spy thriller also required a new enemy. Between the late 1930s and the early 1950s, the Soviet spy thriller reflects the shift from an obsession with class to a new preoccupation with nationality, as the Soviet Union constructed a new identity for i
Table of Contents
Acknowledgments – James Bond 007: Behind the Iron Curtain. Introductory Thoughts – Pioneers – Nikolai Shpanov, or the Road to Serious-mindedness – Lev Ovalov and Lev Sheinin, or the Enemy Within – Aleksandr Avdeenko, or the Empire Moves Westward – Roman Kim, or the Writer as Agent – Craftsmen – Iulian Semenov, or the Soviet Man as Undercover Agent – Ovidii Gorchakov, or the Agent as Writer – Vadim Kozhevnikov, or the Reader as Agent – Aleksandr Prokhanov: Back to the Future – Conclusions – Index.
