The Soviet Union was a notoriously closed society until Stalin's death in 1953. Then, in the mid-1950s, a torrent of Western novels, films, and paintings invaded Soviet streets and homes, acquiring heightened emotional significance. To See Paris and Die is a history of this momentous opening to the West.At the heart of this history is a process of translation, in which Western figures took on Soviet roles: Pablo Picasso as a political rabble-rouser; Rockwell Kent as a quintessential American painter; Erich Maria Remarque and Ernest Hemingway as teachers of love and courage under fire; J. D. Salinger and Giuseppe De Santis as saviors from Soviet cliches. Imported novels challenged fundamental tenets of Soviet ethics, while modernist paintings tested deep-seated notions of culture. Western films were eroticized even before viewers took their seats. The drama of cultural exchange and translation encompassed discovery as well as loss.Eleonory Gilburd explores the pleasure, longing, humiliation, and anger that Soviet citizens felt as they found themselves in the midst of this cross-cultural encounter. The main protagonists of To See Paris and Die are small-town teachers daydreaming of faraway places, college students vicariously discovering a wider world, and factory engineers striving for self-improvement. They invested Western imports with political and personal significance, transforming foreign texts into intimate belongings.With the end of the Soviet Union, the Soviet West disappeared from the cultural map. Gilburd's history reveals how domesticated Western imports defined the last three decades of the Soviet Union, as well as its death and afterlife.

The period from Stalin’s death in 1953 to the end of the 1960s marked a crucial epoch in Soviet history. Though not overtly revolutionary, this era produced significant shifts in policies, ideas, language, artistic practices, daily behaviours, and material life. It was also during this time that social, cultural, and intellectual processes in the USSR began to parallel those in the West (and particularly in Europe) as never before.This volume examines in fascinating detail the various facets of Soviet life during the 1950s and 1960s, a period termed the ‘Thaw.’ Featuring innovative research by historical, literary, and film scholars from across the world, this book helps to answer fundamental questions about the nature and ultimate fortune of the Soviet order – both in its internal dynamics and in its long-term and global perspectives.

The period from Stalin’s death in 1953 to the end of the 1960s marked a crucial epoch in Soviet history. Though not overtly revolutionary, this era produced significant shifts in policies, ideas, language, artistic practices, daily behaviours, and material life. It was also during this time that social, cultural, and intellectual processes in the USSR began to parallel those in the West (and particularly in Europe) as never before.This volume examines in fascinating detail the various facets of Soviet life during the 1950s and 1960s, a period termed the ‘Thaw.’ Featuring innovative research by historical, literary, and film scholars from across the world, this book helps to answer fundamental questions about the nature and ultimate fortune of the Soviet order – both in its internal dynamics and in its long-term and global perspectives.

The Soviet Union was a notoriously closed society until Stalin's death in 1953. Then, in the mid-1950s, a torrent of Western novels, films, and paintings invaded Soviet streets and homes, acquiring heightened emotional significance. To See Paris and Die is a history of this momentous opening to the West.At the heart of this history is a process of translation, in which Western figures took on Soviet roles: Pablo Picasso as a political rabble-rouser; Rockwell Kent as a quintessential American painter; Erich Maria Remarque and Ernest Hemingway as teachers of love and courage under fire; J. D. Salinger and Giuseppe De Santis as saviors from Soviet cliches. Imported novels challenged fundamental tenets of Soviet ethics, while modernist paintings tested deep-seated notions of culture. Western films were eroticized even before viewers took their seats. The drama of cultural exchange and translation encompassed discovery as well as loss.Eleonory Gilburd explores the pleasure, longing, humiliation, and anger that Soviet citizens felt as they found themselves in the midst of this cross-cultural encounter. The main protagonists of To See Paris and Die are small-town teachers daydreaming of faraway places, college students vicariously discovering a wider world, and factory engineers striving for self-improvement. They invested Western imports with political and personal significance, transforming foreign texts into intimate belongings.With the end of the Soviet Union, the Soviet West disappeared from the cultural map. Gilburd's history reveals how domesticated Western imports defined the last three decades of the Soviet Union, as well as its death and afterlife.

The period from Stalin’s death in 1953 to the end of the 1960s marked a crucial epoch in Soviet history. Though not overtly revolutionary, this era produced significant shifts in policies, ideas, language, artistic practices, daily behaviours, and material life. It was also during this time that social, cultural, and intellectual processes in the USSR began to parallel those in the West (and particularly in Europe) as never before.This volume examines in fascinating detail the various facets of Soviet life during the 1950s and 1960s, a period termed the ‘Thaw.’ Featuring innovative research by historical, literary, and film scholars from across the world, this book helps to answer fundamental questions about the nature and ultimate fortune of the Soviet order – both in its internal dynamics and in its long-term and global perspectives.

The period from Stalin’s death in 1953 to the end of the 1960s marked a crucial epoch in Soviet history. Though not overtly revolutionary, this era produced significant shifts in policies, ideas, language, artistic practices, daily behaviours, and material life. It was also during this time that social, cultural, and intellectual processes in the USSR began to parallel those in the West (and particularly in Europe) as never before.This volume examines in fascinating detail the various facets of Soviet life during the 1950s and 1960s, a period termed the ‘Thaw.’ Featuring innovative research by historical, literary, and film scholars from across the world, this book helps to answer fundamental questions about the nature and ultimate fortune of the Soviet order – both in its internal dynamics and in its long-term and global perspectives.