Slav N. Gratchev is associate professor of Spanish at Marshall University.

With a brief nod to the broadly international and interdisciplinary nature of the avant-garde as a unifying factor, the editor Slav N. Gratchev devotes the volume’s introduction to a summary of the individual chapters without proposing an overarching structure to pull them together. This serves to emphasize the diffuse nature of the avant-garde as a tenuous assemblage of topics with the editor as more bricoleur than conductor. The twelve essays in the volume thus work as individual case histories with a tendency to examine somewhat narrow swaths of the literary, cultural, and philosophical landscape that comprised the Russian and East-European avant-garde. This degree of focus frequently makes this book a valuable guide to specific corners and niches of the avant-garde that contribute to the movement’s distinctiveness. The insights offered by a more microscopic approach to the avant-garde are evident in a number of the volume’s chapters.

• Chapter 1: Abstraction and Estrangement across the Arts in the Russian Avant-gardeNorbert FrancisChapter 2: L. P. Yakubinsky and M. M. Bakhtin: A Brief History of a ‘Dialogue’ that Never Really WasChapter 3: “Strong, Manly and Bold”: The Russian Avant-Garde and its Masculine MantraTim Harte Chapter 4: Flying Too Close to the Sun: Impersonations of Duncan in RussiaMark KonecnyChapter 5: Role of the Newspaper Art of the Commune in the Establishment of Proletarian ArtNatalia Murray Chapter 6: Malevich’s “Ule Elye Lel”: A Suprematist’s Avant-garde Poetic ExperimentationsMargarita Marinova Chapter 7: The Ecological Avant-garde: Arkady Fiedler’s The River of Singing FishIda DayChapter 8: Science Fiction in the Russian Avant-garde Cinema of the 1920s and AnarchismOlga Burenina-Petrova Chapter 9: Moscow Conceptualism, Post-Suprematism, and Beyond: Reimagining the Russian Avant-gardeMary A. Nicholas Chapter 10: The Bauhaus and the Children: An Almost Forgotten History of Avant-garde C

Slav N. Gratchev is associate professor of Spanish at Marshall University.

With a brief nod to the broadly international and interdisciplinary nature of the avant-garde as a unifying factor, the editor Slav N. Gratchev devotes the volume’s introduction to a summary of the individual chapters without proposing an overarching structure to pull them together. This serves to emphasize the diffuse nature of the avant-garde as a tenuous assemblage of topics with the editor as more bricoleur than conductor. The twelve essays in the volume thus work as individual case histories with a tendency to examine somewhat narrow swaths of the literary, cultural, and philosophical landscape that comprised the Russian and East-European avant-garde. This degree of focus frequently makes this book a valuable guide to specific corners and niches of the avant-garde that contribute to the movement’s distinctiveness. The insights offered by a more microscopic approach to the avant-garde are evident in a number of the volume’s chapters.

• Chapter 1: Abstraction and Estrangement across the Arts in the Russian Avant-gardeNorbert FrancisChapter 2: L. P. Yakubinsky and M. M. Bakhtin: A Brief History of a ‘Dialogue’ that Never Really WasChapter 3: “Strong, Manly and Bold”: The Russian Avant-Garde and its Masculine MantraTim Harte Chapter 4: Flying Too Close to the Sun: Impersonations of Duncan in RussiaMark KonecnyChapter 5: Role of the Newspaper Art of the Commune in the Establishment of Proletarian ArtNatalia Murray Chapter 6: Malevich’s “Ule Elye Lel”: A Suprematist’s Avant-garde Poetic ExperimentationsMargarita Marinova Chapter 7: The Ecological Avant-garde: Arkady Fiedler’s The River of Singing FishIda DayChapter 8: Science Fiction in the Russian Avant-garde Cinema of the 1920s and AnarchismOlga Burenina-Petrova Chapter 9: Moscow Conceptualism, Post-Suprematism, and Beyond: Reimagining the Russian Avant-gardeMary A. Nicholas Chapter 10: The Bauhaus and the Children: An Almost Forgotten History of Avant-garde C

Slav N. Gratchev is associate professor of Spanish at Marshall University.

With a brief nod to the broadly international and interdisciplinary nature of the avant-garde as a unifying factor, the editor Slav N. Gratchev devotes the volume’s introduction to a summary of the individual chapters without proposing an overarching structure to pull them together. This serves to emphasize the diffuse nature of the avant-garde as a tenuous assemblage of topics with the editor as more bricoleur than conductor. The twelve essays in the volume thus work as individual case histories with a tendency to examine somewhat narrow swaths of the literary, cultural, and philosophical landscape that comprised the Russian and East-European avant-garde. This degree of focus frequently makes this book a valuable guide to specific corners and niches of the avant-garde that contribute to the movement’s distinctiveness. The insights offered by a more microscopic approach to the avant-garde are evident in a number of the volume’s chapters.

• Chapter 1: Abstraction and Estrangement across the Arts in the Russian Avant-gardeNorbert FrancisChapter 2: L. P. Yakubinsky and M. M. Bakhtin: A Brief History of a ‘Dialogue’ that Never Really WasChapter 3: “Strong, Manly and Bold”: The Russian Avant-Garde and its Masculine MantraTim Harte Chapter 4: Flying Too Close to the Sun: Impersonations of Duncan in RussiaMark KonecnyChapter 5: Role of the Newspaper Art of the Commune in the Establishment of Proletarian ArtNatalia Murray Chapter 6: Malevich’s “Ule Elye Lel”: A Suprematist’s Avant-garde Poetic ExperimentationsMargarita Marinova Chapter 7: The Ecological Avant-garde: Arkady Fiedler’s The River of Singing FishIda DayChapter 8: Science Fiction in the Russian Avant-garde Cinema of the 1920s and AnarchismOlga Burenina-Petrova Chapter 9: Moscow Conceptualism, Post-Suprematism, and Beyond: Reimagining the Russian Avant-gardeMary A. Nicholas Chapter 10: The Bauhaus and the Children: An Almost Forgotten History of Avant-garde C