The Eurasian Knot

A decade ago, Vladimir Alexandrov published an excellent biography, The Black Russian, about an unknown historical figure–Fredrick Bruce Thomas. Thomas was a Black Mississippian who moved to Imperial Russia and became a successful Moscow nightclub owner until Revolution forced him to flee. Thomas’ life is a window into post-emancipation Black American aspiration, struggle and cosmopolitanism. Alexandrov found Thomas such an intriguing character, he couldn’t let him go. So now, Thomas is the principle in a suspense novel set in Russia’s Silver Age. The Eurasian Knot spoke to Alexandrov about Thomas’ new adventure, the challenges of writing a novel, and where can we expect Fredrick Bruce Thomas to go from here.    Guest:Vladimir Alexandrov, B. E. Bensinger Professor Emeritus in the Slavic Department at Yale, is the author most recently of The Black Russian, and To Break Russia's Chains: Boris Savinkov and His Wars against the Tsar and the Bolsheviks. He is currently completing a history of Russian involvement in the American Civil War, and the second novel in The Black Russian series. His first novel is The Black Russian and the Serpents Sting published by NIMCA Press. Hosted on Acast. See acast.com/privacy for more information.

Alexander II’s Great Reforms were sweeping. They freed over 22 million serfs, overhauled the judicial, university, and municipal systems, and loosened censorship, among others. It was one of those pivot points in Russian history. If successful, Russia would have charted a more liberal path or stay on the autocratic road if a failure. Most historians have ruled them a failure. But what were the reforms trying to accomplish? What kind of Empire did it seek to create? Could they turn subjects of an autocracy into citizens of a nation? To discuss such a “big topic,” the Eurasian Knot spoke to Tatiana Borisova about her research into Alexander’s judicial reforms and their historical consequences. Can Russia’s attempt at reform in the mid-19th century provide some hope for a different Russia in the future?Guest:Tatiana Borisova is an Associate Professor of History at the Higher School of Economics St. Petersburg. Her most recent articles in English include: “Imperial legality through ‘Exception’: Gun control in the Russian Empire” and, with Jane Burbank, “Russia’s Legal Trajectories.” She co-edited, The Legal Dimension in Cold-War Interactions: Some Notes from the Field. Her newest book, in Russian, is Когда велит совесть: Культурные истоки Судебной реформы 1864 года в России published by Новое литературное обозрение. Hosted on Acast. See acast.com/privacy for more information.

I love street art. And I don’t care in what form. Beautifully crafted murals. Spraypainted gang tags. Scrawls on bathroom stalls. Even guerilla sticker mosaics on streetlights. I especially like how street art alters the narrative of a space. So, I was excited when I received a copy of Alexis Lerner’s book, Post-Soviet Graffiti. Post-Soviet street art has gotten little scholarly attention making the topic ripe for exploration and discussion. Post-Soviet graffiti shares a lot with its global counterparts–similar aesthetics, themes, culture, and political edginess. It also shares attempts at its co-optation by governments and corporations. But what makes political street art different in authoritarian countries like Russia? Is its power to circumvent media censorship and political control? What is street art, anyway? Who are the artists? And does graffiti have a political impact? The Eurasian Knot spoke to Alexis to get her thoughts and discuss the content and form of some of the graffiti she’s encountered over the last decade.Guest:Alexis Lerner is an Assistant Professor of Political Science at the United States Naval Academy. She’s the author of Post-Soviet Graffiti: Free Speech in Authoritarian States, published by University of Toronto Press. You can see the Alexis’ gallery of graffiti at https://postsovietgraffiti.com/ Hosted on Acast. See acast.com/privacy for more information.

A new youth subculture emerged in the Soviet Union in the late 1940s and early 1950s–the Stiliagi. Roughly translated as “the stylish,” these youths, the majority of whom were men, wore flashy hairstyles and bright colored clothes, danced to jazz, and were obsessed with Western aesthetics. And of course, this style broke Soviet conventions, challenged social norms, and expanded gender performance. Though the exact origin of the Stiliagi is murky, it arose alongside other Western youth subcultures–the beatniks, the mods, the rockers–of the immediate post-WWII libertinism. The Stiliagi put the Soviet Union squarely within the history of a more globalized youth culture. But, what did it mean to be a “stiliagi”? Who were they? How did the style offer alternative forms of Soviet masculinity? How did the Soviet authorities react to these youths? And how did this subculture differ from its Western counterparts? The Eurasian Knot spoke to Alla Myzelev about her new book on the subculture, Stiliagi and Soviet Masculinities, 1945–2010: Fashion as Dissent, to get some answers.Guest:Alla Myzelev is a Professor and Chair of the Department of Art History and Museum Studies at SUNY Geneseo. She is currently editing a book titled Challenging Imperial Narratives Through Visual Art and Material Culture in Eastern Europe and Central Asia. Her new book, Stiliagi and Soviet Masculinities, 1945–2010: Fashion as Dissent, is published by Manchester University Press. Hosted on Acast. See acast.com/privacy for more information.

Soviet ideology called for the emancipation of women. Soviet women would be active participants in public life, unburdened by the home, children, and husbands, and serve equally in the building and defense of the Soviet state. Reality, however, was different, especially during WWII. Soviet women did serve in the Red Army and partisans. But life at war was more than the heroic tales we know today. Soviet women were often abused by their commanders and fellow soldiers or viewed as suspicious, weak, and even dangerous. Life under occupation was even worse. Many women turned to “survival prostitution” and fraternized with German soldiers to escape abuse, forced labor, and death. What strategies did Soviet women adopt to survive the war? How were they looked upon by the enemy, their neighbors, and compatriots? And what happened after the war to those who formed sexual relations with German soldiers? The Eurasian Knot spoke to Regina Kazyulina about gender, sex, and survival to get a window into this contentious and understudied chapter of WWII in the Soviet Union.   Guest:Regina Kazyulina is a visiting assistant professor of history and the assistant director of the Center for Holocaust and Genocide Studies at Salem State University. Her book, Women Under Suspicion: Fraternization, Espionage, and Punishment in the Soviet Union During World War II published by University of Wisconsin Press. Hosted on Acast. See acast.com/privacy for more information.

About two years ago, I was brought on to a podcast project started by the Global Studies Center at the University of Pittsburgh. The initial pitch was to produce a student-led podcast featuring two threatened artists that are part of the Pittsburgh Network for Threatened Scholars (PiNTS). I’m proud to feature the end result, The Art of War. It features two artists, the Yemeni street artist, Haifa Subay, and the Ukrainian poet, filmmaker, and musician, Oleksandr Fraze-Frazenko, about exile, art, war, and adjusting to life in Pittsburgh. I hope Eurasian Knot listeners enjoy it because I’m really proud of having been a part of it. And especially, seeing how our students, Jojo Ellis, Kyla Parker, and Lily Acharya proved to be naturals in the audio craft.Art of WarProduced by Lily Acharya, Jojo Ellis, Kyla Parker, David Greene, Shannon Reed, and Sean Guillory.Editing and sound design: Sean GuilloryMixed and mastered; Daniel Cooper, Podcuts EditingMusic: Blue Dot Sessions Hosted on Acast. See acast.com/privacy for more information.

What is peat? We had no idea until the Eurasian Knot spoke to Katja Bruisch about how this coal-like soil was an energy source in Russia and the Soviet Union. Found in wetlands, peat is the extracted top soil that is dried and burned for fuel. It was a marginal, but important, energy source in industrialization. Peat was also used as a localized source to produce electricity for Lenin’s Electrification campaign. Because, as the old man put it, “Communism is Soviet power plus the electrification of the whole country.” But, Bruisch tells us, extracting peat was labor intensive, and into the Soviet period, increasingly done by women. Peat harvesting created communities and culture. It also significantly altered local ecologies. How crucial was peat in modernization? Why was it used instead of other energy sources? And can it serve as a present-day alternative? The Eurasian Knot posed these questions and more to Katja Bruisch about her book, Burning Swaps: Peat and the Forgotten Margins of Russia’s Fossil Economy published by Cambridge University Press.Guest:Katja Bruisch is an environmental historian at Trinity College Dublin interested in energy, resource extraction and land-use in the Russian Empire and the Soviet Union. Her new book is Burning Swamps: Peat and the Forgotten Margins of Russia’s Fossil Economy published by Cambridge University Press.Send us your sounds! PatreonKnotty News Hosted on Acast. See acast.com/privacy for more information.

I’ve grown to admire historians like Catherine Merridale. You know, those historians who buck academic conventions to write for a non-academic audience. This was quite a change for me since I used to hold such work in contempt (or was it jealousy) when I was a snot-nosed, snobby grad student. So I jumped at the chance to interview Merridale and talk about the historical craft and its relationship to detective fiction in her first novel, Moscow Underground. As she explains, there’s some liberation in fiction. You can freely develop characters. Imbibe the story with emotions, the sites, the sounds, the smells. And craft a compelling and entertaining story. But creative license has its limits. Historical fiction requires you to stick to the historical record. You have to make sure the history you set your story in is believable, as Merridale does, in her crafting of Moscow of 1934. What challenges does writing fiction present to a professional historian? How does fiction and history intersect? And why a novel at all, let alone a detective novel? The Eurasian Knot spoke to Catherine Merridale about her hero, Anton Markovich Belkin, an investigator for the Procuracy, and the murder investigation that takes him into Moscow’s two undergrounds–the metro and the underbelly of crime, poverty, and politics in her first novel, Moscow Underground.  Guest:Catherine Merridale is an acclaimed historian of Russia and the Soviet Union. Her work includes pioneering oral history as well as archival research on topics as varied as death, the Kremlin, and Lenin's train ride of 1917. With Russia now off-limits for political reasons, she now turns to fiction. Moscow Underground is her first novel, set primarily in 1934.Send us your sounds! PatreonKnotty News Hosted on Acast. See acast.com/privacy for more information.

The Prussian city of Konigsberg is well-known as the birthplace of Immanuel Kant. But in many ways it’s also a microcosm for the twentieth century. Founded in the 13th century by Teutonic knights, the city served as a key trading center for the Prussian Empire until the Polish corridor severed it from Germany after WWI. It is then that the history of Konigsberg takes an even more dramatic turn. Its “Germanness” became an object of debate and political exploitation. By the early 1930s, it had one of the highest votes for the Nazis in Germany. But then–WWII. Destroyed and depopulated by 1944, it became the first city to satisfy the Red Army appetite for revenge rape and pillaging. It became a Soviet possession after WWII and, like the rest of Eastern Europe, was sovietized into Kaliningrad. And even though the USSR is no more, it remains a part of the Russian Federation.The history of Konigsberg/Kaliningrad begs so many questions. Why Nazism? What was life there during the war? The Red Army violence but also its reconstruction into Kaliningrad? How did the Soviets handle their mortal German enemies after a war of annihilation? And how is this legacy seared into the city? The Eurasian Knot wanted to know more and turned to Nicole Eaton to learn more about her book, German Blood, Slavic Soil: How Nazi Königsberg Became Soviet Kaliningrad.Guest:Nicole Eaton is Associate Professor of History at Boston College where she teaches courses on the Soviet Union, Imperial Russia, modern Europe, authoritarianism, and mass violence. She’s the author of German Blood, Slavic Soil: How Nazi Königsberg Became Soviet Kaliningrad published by Cornell University Press. Hosted on Acast. See acast.com/privacy for more information.

I’ve been thinking about the use of “they” in our political rhetoric. In some respects, this third-person plural pronoun is indicative of politics. The “they” in politics often refers specifically to an entity–political party, a group of politicians, etc. But what if the “they” refers to another nebulous entity? For example, here’s a clip from a recent NYT Daily episode on Charlie Kirk’s memorial: “They also had a goal of gaining control of the media and Hollywood so they could change the culture in America. They kill and terrorize their opponents, hoping to silence them.”Who is this “they”? This reminded me of an interview I did with Paul Hanebrink from 2019 about his book A Specter Haunting Europe: The Myth of Judeo-Bolshevism. Hanebrink gives a good history of one “they” that is at the center of the Judeo-Bolshevik myth–a conspiracy that I think is the foundation of most conspiracy thinking–a shadowy “they” that is behind all social ills. How has the Judeo-Bolshevik myth shaped the 20th century? How did it change over time? And what resonance does it have today? To get some insight, give this interview with Paul Hanebrink another go.Guest:Paul Hanebrink is a Professor of History at Rutgers University specializing in modern East Central Europe, with a particular focus on Hungary, nationalism and antisemitism as modern political ideologies, and the place of religion in the modern nation-state. He’s the author of In Defense of Christian Hungary. His most recent book is A Specter Haunting Europe: The Myth of Judeo-Bolshevism published by Harvard University Press. Hosted on Acast. See acast.com/privacy for more information.

There’s a paradox at the center of Elana Resnick’s book, Refusing Sustainability: Race and Environmentalism in a Changing Europe. EU policies of environmental sustainability in Bulgaria require the racialization of Romani into a permanent low-skilled and impoverished workforce. Waste management required teams of Romani streetsweepers and trash collectors to sort trash into waste, recyclables and compost, and bring them for processing and reuse. This labor was historically filled by Bulgaria’s Romani citizens, to the point where white Bulgarians equated them with waste. And in turn, Roma’s racial otherness allowed white Bulgarians to enter a pan-European concept of whiteness. Since race is a favorite subject on the Eurasian Knot, Sean spoke to Elana about Sofia’s Romani women as waste workers, the powerful solidarity and collective action that emerges from their labor, and the implications for Romani rights struggle in Bulgaria.Guest:Elana Resnick is an Assistant Professor of Anthropology at the University of California, Santa Barbara, where she also leads the Infrastructural Inequalities Research Group. She’s the author of several articles and the book, Refusing Sustainability: Race and Environmentalism in a Changing Europe, published by Stanford University Press.Send us your sounds! PatreonKnotty News Hosted on Acast. See acast.com/privacy for more information.

There are many stereotypes about Russia. But perhaps one of the strangest is that Russians prefer a strong hand, are politically passive, even apolitical, and rebellion just isn’t in their DNA. This belief requires a hefty dose of historical amnesia. Many of Russia’s most memorable historical figures–Stenka Razin, Pugachev, the Decembrists, the People’s Will, Lenin, Sakharov, Alexei Navalny, to name a few, were rebels. Not to mention, Russia has experienced three revolutions over the last century–1905, 1917, and 1991. Rebellion, in fact, is an integral part of Russia’s history, and the rebel often leads the dance with the Tsar. What is rebellion? Who are these rebels? What makes them? And how do they shape the Russian political system? These are questions that resonate in Russia and beyond. So the Eurasian Knot invited Anna Arutunyan on the pod to discuss the figure of the rebel in her new book, Rebel Russia: Dissent and Protest from Tsars to Navalny published by Polity.Guest:Anna Arutunyan is a Russian-American journalist, analyst, and author. She served as senior Russia analyst for the International Crisis Group before leaving Russia in 2022 and is the author of five books about the country, its politics, society and wars. Her new book is Rebel Russia: Dissent and Protest from Tsars to Navalny published by Polity. Hosted on Acast. See acast.com/privacy for more information.

After 1917, San Francisco’s small Russian community exploded with new arrivals. Over the next decade, thousands quit Soviet Russia, often via the Far East or China, to escape revolution and civil war. Arrival in America, however, was only the beginning of new trials. In the 1920s and 1930s, American nativists saw Slavic people as low in the racial hierarchy–people who were visually white, but culturally not quite. The Russian community in San Francisco was faced with a contradictory choice: to preserve their culture, a culture that they saw was being destroyed in Soviet Russia or shed their Russianess and become more “American” i.e. more “white.” How did this first wave of Russian emigres meet the challenge of otherness and assimilation? And what about the second wave of Russians who came after WWII? How did they navigate the Red Scare where Russian was equated with communist and the notions of Americanness had become more polarized? The Eurasian Knot spoke to the historian Nina Bogdan about her new book, Before We Disappear into Oblivion: San Francisco’s Russian Diaspora from Revolution to Cold War, to get some insight.Guest:Nina Bogdan is a historian and cultural preservationist. She recently authored the “Russian American Historic Context Statement” for the San Francisco City Planning Department as part of the Citywide Cultural Resources Survey. She’s the author of Before We Disappear into Oblivion: San Francisco’s Russian Diaspora from Revolution to Cold War published by McGill-Queen’s University Press.The article Rusana mentions on the history of Berkeley's Institute of Slavic Studies is here. However, the piece is about the historian Robert J. Kerner, not Nicholas Raisanovsky. Send us your sounds! PatreonKnotty News Hosted on Acast. See acast.com/privacy for more information.

What power do jokes have in authoritarian societies? I’ve been thinking about this recently as Trump further consolidates power. Turn on any American late night show and it’s one joke about Trump after another. It’s easy for comedians. The Trump jokes write themselves. Soviet Russia didn’t have late night, and openly poking fun at the authorities was highly circumscribed. This continues to a large extent in today’s Russia. But people still tell biting, insulting jokes in daily life. Laughing at power can’t be totally contained. But do they matter? What power do they have? In what ways are they criticism of the powers that be, a way to cope with the absurdity of everyday life, and or merely self-delusional exercises in political agency? All three? In 2018, the Eurasian Knot took on these questions about jokes in a conversation with Jon Waterlow about his book, Only A Joke, Comrade! Humor, Trust, And Everyday Life Under Stalin, 1929-1941. We decided to rerun the interview for what it can tell us about our present conjecture.Guest:Jon Waterlow received his PhD in History at Oxford. He’s the author of It's Only A Joke, Comrade! Humor, Trust, And Everyday Life Under Stalin, 1929-1941. Jon is also host of the podcast Voices in the Dark. Look for it on your favorite podcast feed. Hosted on Acast. See acast.com/privacy for more information.

Games have a long history. Several are centuries old. But a new crop of games has emerged over the last century. Elaborate board games, role playing games, and of course, video games. Today, video games are one of the most consumed forms of media entertainment. They inspire communities, live-action role playing, movies and other media. All of these have fostered new identities and ethics. And Eastern Europe has played an outsized role in this culture. Enter Daniil Leiderman, the new Slavicist at the University of Pittsburgh. He says that games are a portal to a whole bunch of issues–identity, moral responsibility, agency, and cultural critique. The Eurasian Knot greeted Daniil with a conversation about gaming and Eastern Europe. How do games give players agency in crafting alternative histories? What role do Soviet and post-Soviet landscapes play? And what are the wider effects do games have on our lives outside the magic circle? Guest:Daniil Leiderman is an art historian. He taught art history and game studies at Texas A&M University before joining University of Pittsburgh’s Slavic Languages and Literatures Department as an Assistant Professor in Fall 2025. As a scholar, Daniil’s research focuses on underground and protest art and culture and video games.Send us your sounds! PatreonKnotty News Hosted on Acast. See acast.com/privacy for more information.

This week we check-in with frequent EK guest Brian Milakovsky to learn about the destruction of forests in Ukraine. Since Russia’s invasion of Ukraine in 2014, and its full-scale assault in 2022, war has destroyed much of the forests of the Seversky Donets Basin. These trees serve as a place of leisure, pride, identity, and economy for nearby residents. But Russian artillery, mines, and other ordnance have repeatedly ignited forest fires. The ecology of the region has been transformed, likely forever. How has the war accelerated the destruction of eastern Ukraine’s ecology? And what does this mean for the future? We also get an update on how Brian sees the war at the present moment, when at the time of recording, Putin and Trump were meeting in Alaska. It’s a dark time. And an even darker horizon approaches us.Guest:Brian Milakovsky is a forester who worked on conservation and development programs in Ukraine and Russia from 2009 to 2024. He presently resides in Bath, Maine and works for the New England Forestry Foundation. He is also an associate researcher with the Regional East European Fire Management Center in Kyiv, Ukraine. Hosted on Acast. See acast.com/privacy for more information.

As frequent listeners know, my advisor and friend Arch Getty passed away from cancer a few months ago. I was recently in Los Angeles to attend his memorial. I got to catch up with fellow grad students and friends. One was James Harris, a close friend and collaborator with Arch. James is also one of the best Soviet historians around. After chatting with James, I was reminded that I interviewed him way back in 2016–about a year after I started the SRB Podcast. I decided to re-edit and release James’ interview about his book, The Great Fear. The book looks at how Soviet leaders were constantly afraid of invasion, uprisings, and dissent. James argues that this fear was an important driver of the regime’s use of violence and ultimately the Great Terror of 1937-38. So, in honor of seeing James and in memory of Arch, here’s another listen to the Great Fear.Guest:James Harris is a Senior Lecturer in Modern European History at Leeds University where he specializes in the history of Stalinism. James has published several books and articles on the Stalin period. He’s the author of The Great Fear: Stalin’s Terror in the 1930s published by Oxford University Press.Send us your sounds! PatreonKnotty News Hosted on Acast. See acast.com/privacy for more information.

In 1912, a strike of 18,000 restaurant and hotel workers in New York City birthed the Hotel and Restaurant Employees International, a union representing tens of thousands of Manhattan’s service workers. The union still exists today as Local 6 of the Hotel and Gaming Trades Council, AFL-CIO and remains one of the NYC strongest unions. But why is the Eurasian Knot featuring a story about an American trade union? Because the history of the American labor movement in the early 20th century cannot be told without the Communist Party. That means the Soviet Union via the Communist International played an important role in shaping Local 6 in the 1920s and 1930s. How did the Russian Revolution reverberate through American labor? How did the Hotel and Restaurant Union navigate the various ideological and political shifts, to say nothing of the Red Scare? And what about the American communists like William Z. Foster? And what does Local 6 have to teach us today? The Eurasian Knot talked to one of Sean’s old Socialist Party comrades, Shaun Richman, about his book, We Always Had a Union: The New York Hotel Workers’ Union, 1912-1953, for some answers.Guest:Shaun Richman teaches labor history at SUNY Empire State University. He's an historian of U.S. labor and American Communism, with a particular focus on union organizing, the service sector and the American Federation of Labor. He teaches labor history at SUNY Empire State University"He’s the author of We Always Had a Union: The New York Hotel Workers’ Union, 1912-1953 published by University of Illinois Press.Send us your sounds! PatreonKnotty News Hosted on Acast. See acast.com/privacy for more information.

What does it mean for the city to be a symphony? True, city symphonies are a silent film genre best represented by Dziga Vertov and Walter Ruttmann. These early silent films tried to capture the “sound” of the city by editing images symphonically–to give the viewer a sense of the urban soundscape. But, as Daniel Schwartz explains, early 20th century avant-garde artists broadened the city symphony beyond the “silent” and into a full-fledged multimedia experiment. Some, like Luigi Russolo, pushed the boundaries between music and noise by incorporating new technology into music performance. Others, like Arseny Avraamov, reimagined the city as a giant living orchestra where its inhabitants were both producers and consumers of sound. While others, like Vertov, valorized the city into the natural habitat of a New Soviet Person and their labor. But what did a city symphony sound like? Especially when its composers left so few written instructions for conductors to recreate them? How does the city symphony speak to modernity itself? Intrigued, the Eurasian Knot talked to Daniel Schwartz about his book City Symphonies: Sound and the Composition of Urban Modernity, 1913–1931 published by McGill University Press.Guest:Daniel Schwartz is an associate professor in Russian and German Cinemas at McGill University. He’s the author of City Symphonies: Sound and the Composition of Urban Modernity, 1913-1931 published by McGill-Queen’s University Press. Featured clips in order of appearance:Luigi Russolo, “Reesveyo di una cheetà,” 1913.Arseny Avraamov,  “Symphony of Sirens,”1922.Walter Ruttmann, “Weekend,” 1930.Vziga Vertov, “Enthusiasm: Symphony of the Donbas,” 1931. Hosted on Acast. See acast.com/privacy for more information.

In early October 1993, tanks pummeled the Russian Duma in central Moscow. It was a dark mirror of just two years prior when Boris Yeltsin definitely climbed atop a tank and made history. Now, tanks were again Yeltsin’s historical instrument. Only this time, they were his. The 1993 Russian Constitutional Crisis was a turning point in the country’s post-Soviet transformation. The popular narrative was Russian Democrats repelling Russian nationalists and communists. The future vs. the past. And the future prevailed! It was a tight, clean story fit for the utopianism of the 1990s. In retrospect, however, it was the past that really won. Yeltsin’s constitutional power grab through the gun barrel set the first stones of Putinism. How should we understand this turning point? What was really going on? And how have these baby steps of Russian authoritarianism become a full-blown sprint? The Eurasian Knot turns to Jeff Hawn for some answers.Guest:Jeff Hawn is a graduate of American University School of International Service and is completing his PhD at London School of Economics. His dissertation addresses the history and consequences of the 1993 Constitutional Crisis and the emergence of modern Russia.Send us your sounds! PatreonKnotty News Hosted on Acast. See acast.com/privacy for more information.