Contenido:
Carátula
Carátula completa ( spread )
Explicación del libro
Explicación del libro
Prólogo en español
Prólogo en inglés
Índice general
Índice onomástico
Foto del autor
Currículo del autor
Explicación del libro
En mi libro sobre Rusia me ocupo, en tanto literato e historiador, de la poesía, la música, el teatro rusos, como tareas de resistencia. Además, recojo historias de vida de personas ancianas que vivieron bajo el Sitio de Leningrado o actuaron en el frente ruso durante la Segunda Guerra Mundial. Y en tercer lugar, en tanto historiador, me enfrento a los problemas políticos, económicos y jurídicos del gobierno y la sociedad rusos. Cada registro (historia cultural, historia individual, historia del proceso político, económico y jurídico) arroja luz sobre los otros. Sugiero, a quien se adentre en la lectura, que (aparte de los capítulos sobre cuestiones literarias y artísticas, y aparte de los testimonios o historias de vida) se detenga en el capítulo acerca de Lenin, o en el capítulo acerca del mir - la comuna campesina creada por Alejandro II -, o el Ejército Ruso de Liberación, o la colectivización forzosa de la agricultura, o la ley de 1934 que penalizó la homosexualidad, u otros que exhiben los aportes de la investigación de archivos, de nuevos aportes bibliográficos, y suponen, sin duda, una puesta al día del relato del historiador. Los tópicos se pueden rastrear y cotejar a placer en el Índice Onomástico de Personajes Históricos porque, fuera del interés de la primera lectura, Las noches rusas, materia y memoria, es un libro de referencia.
PROLOGUE to The Russian Nights
This is a personal diary, to which some life stories were hitched up, of individuals I found in my way. My days in Russia were made cohesive by this red thread which consisted in interviewing elder people, survivors of the Siege of Leningrad and combatants of the Russian front during the Second World War. I was interested in reaching the nadir of the Century in order to understand what was at stake, the razing of that subject population. I wanted to know which had been the limits of resilience in such circumstances, what was left of the ethical and physical qualities in the adversity test of such people.
Oral and written testimonies about the period are enmeshed, the plural versions trace a spectrum of what everyday life was like in the Soviet Union, particularly during the war. Because of its chaotic conditions, war meant for some a certain lack of control, a quote of personal initiative, of spontaneous behavior.
Of the people I interviewed in 2001, a considerable percentage has died. I think their testimony is a precious material that should be rescued, their voices should be heard, their thoughts, which couldn’t be said then and there, “to make it known”, the ruthlessness of the government, the political police, and the military command toward the troops, toward the population as a whole, the handling of prisoners, either German or repatriated, the lives in the GULAG, the feeling of oppression which persuaded many to desert, to go over to the enemy, in the hope of toppling the regime.
The flux of new archive information from Russia has become gradually meager. Overwhelmed by the incriminating proofs of history, apprehensive before the West and its researchers, and inspired by the illustrated nationalism of Vladimir Putin, the Russians are closing down their archives. The era of openness, as Konstantin Pleshakov has noted, is reaching its end, and it is unlikely that we will discover something of importance about the Russian perspective in the Second World War during the next years, even, perhaps, during the next decades. Now and then Russia is plunged into some kind of deep lethargy; it happened after the period of liberal reforms of the decades of 1860 and 1870, and it is happening now.
TTo understand the conditions of that time helps us to understand where we come from, which experiments were made, with what results. I mean the establishment of a drastically new order created by Lenin. Without the new order created by Lenin the alternative models inspired by him, of
mutually supporting or inimical dictatorships, of Stalin, Mussolini, and Hitler, would be unthinkable. They traverse and characterize the Twentieth Century, which should be known as the Russian Century, since the soviet alternative was an unavoidable challenge to parliamentary democracies, the constitutional division of powers, the legal rights of citizens, the market economies, private initiative, and the struggle for free expression.
The poets Alexander Pushkin, Marina Tsvietaieva, Nikolai Kliuev, Ana Akhmatova, Alexander Blok, the composer Vladimir Shostakovich, the theatrical director Vsievolod Meyerhold, maintained integrity of discernment, integrity in order to judge and to act as artists in the circumstances allotted to them. I visited their homes, the most welcoming of Russia.
I consider myself an experimenter of stories. The poignancy of lived testimonies affects me. No one can revive, nor should, the arbitrary police holdup, borderline situations under a regime who did not spare the cost of staying in power, under conditions truly indescribable.
Each book I compose changes me. It brings me out of myself and prevents me from staying the same. I takes me, across my experience of Twenty First Century Russia, across the historical investigation of the Twentieth Century, toward a transformation of the horizons within which we experience and judge our present.
To reconstruct a certain experience is a game of truth and architecture, of narration and evidence. The method is no different from one’s trajectory. This book is an invitation to those who want to enter The Russian Nights, in order to make possible a transformation which is not merely mine. 
NOTICIA SOBRE ROBERTO ECHAVARREN
Roberto Echavarren es uruguayo. Hizo estudios de postgrado en filosofía en la Universidad Goethe, de Frankfurt am Main. Se doctoró en letras en la Universidad de París VIII.
Fue docente en la Universidad de Londres, en la Universidad de Nueva York, en el Instituto Rojas de la Universidad de Buenos Aires y en la Facultad de Humanidades de la Universidad de Montevideo.
POESÍA.
Sus últimos libros de poemas son:
Performance (una antología de sus títulos anteriores de poesía y una serie de trabajos en torno a su obra) compilado por Adrián Cangi, Buenos Aires, Eudeba, 2000;
Casino Atlántico, Montevideo, Artefato, 2004; Centralasia, Buenos Aires, Tse-tse, 2005, Premio del Ministerio de Cultura de Uruguay;
El expreso entre el sueño y la vigilia, Premio Fundación Nancy Bacelo, Montevideo, 2009;
Ruido de fondo, Santiago de Chile, Cuarto Propio, 2010.
NARRATIVA.
Ave roc, novela, Montevideo, Graffiti, 1995, Buenos Aires, Bajo la luna, 1995; Buenos Aires, Mansalva, 2007;
El diablo en el pelo, novela, Montevideo, Trilce, 2003, Buenos Aires, El cuenco de plata, 2005;
Yo era una brasa, novela, Montevideo, Hum, 2009.
Las aventuras de la negra Lola, Santiago de Chile, Cuneta, 2011.
La salud de los enfermos, dos nouvelles, Montevideo, Hum, 2010.
ENSAYO.
El espacio de la verdad: Felisberto Hernández, Buenos Aires, Sudamericana, 1981;
Montaje y alteridad del sujeto: Manuel Puig, Santiago de Chile, Maitén, 1986;
Margen de ficción: poéticas de la narrativa hispanoamericana México, Joaquín Mortiz, 1992;
Arte andrógino: estilo versus moda , Montevideo, Brecha, 1998, Premio del Ministerio de Cultura de Uruguay; Buenos Aires, Colihue, 1998; Valencia, Ex-culturas, 2003; edición corregida y aumentada, Santiago de Chile, Ripio, 2008; Montevideo, Hum 2010;
Fuera de género: criaturas de la invención erótica, Buenos Aires, Losada, 2007.
Foucault, El gobierno de sí y de los otros, Buenos Aires, Quadrata, 2011.
Es compilador y participante de:
Andrógino Onetti, Montevideo, Amuleto, 2007; y de
Porno y postporno, Montevideo, Hum, 2009, Premio del Ministerio de Cultura de Uruguay.
TEATRO.
Natalia Petrovna, Montevideo, Centro Cultural de España, 2006.
África, la muñeca de Felisberto Hernández, Buenos Aires, Mansalva, 2011.
MUESTRA DE POESÍA.
Compiló (junto con José Kozer) y prologó (junto con Néstor Perlongher) Medusario, muestra de poesía latinoamericana, México-Buenos Aires, Fondo de Cultura Económica, 1996; Buenos Aires, Mansalva, 2010.
TRADUCCIÓN.
Troilo y Crésida, de Shakespeare, Buenos Aires, Norma, 2005;
El ocaso de los ídolos, de Nietzsche, Barcelona, Tusquets, 1982;
Punto y línea sobre plano, de Kandinski, Barcelona, Seix Barral, 1980;
Como un proyecto del que nadie habla, poemas de John Ashbery, Montevideo, La Flauta Mágica, 2010;
Las auroras de otoño, poemas de Wallace Stevens, Buenos Aires, Hueso de Jibia, 2009;
Los poemas de nuestro clima, de Wallace Stevens, Montevideo, La Flauta Mágica, 2011.
La Edad de Plata, poetas rusos, Montevideo, La Flauta Mágica, 2011.
Tradujo además: Paulo Leminski (Catatau, en Medusario, muestra de poesía latinoamericana, México, Fondo de Cultura, 1996; Buenos Aires, Mansalva, 2010), Haroldo de Campos (Galaxias, en Buenos Aires, Grumo, 2008).
INVESTIGACIÓN/TESTIMONIO/CRÓNICA/HISTORIA
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