Empire, Tourism, Nostalgia: Joseph Brodsky and Travel Writing

Joseph Brodsky, one of the most influential Russian intellectuals of the late Soviet period, was born in Leningrad in 1940, emigrated to the United States in 1972, received the Nobel Prize for Literature in 1987, and died in New York City in 1996. Brodsky was one of the leading public figures of Soviet emigration in the Cold War period, and his role as a model for the constructing of Russian cultural identities in the last years of the Soviet Union was, and still is, extremely important. One of Joseph Brodsky’s great contributions to Russian culture of the latter half of the twentieth century is the wide geographical scope of his poetic and prose works. Brodsky was not a travel writer, but he was a traveling writer who wrote a considerable number of poems and essays which relate to his trips and travels in the Soviet empire and outside it. Travel writing offered for Brodsky a discursive space for negotiating his own transculturation, while it also offered him a discursive space for making powerful statements about displacement, culture, history and geography, time and space—all major themes of his poetry. In this study of Joseph Brodsky’s travel writing I focus on his travel texts in poetry and prose, which relate to his post-1972 trips to Mexico, Brazil, Turkey, and Venice. Questions of empire, tourism, and nostalgia are foregrounded in one way or another in Brodsky’s travel writing performed in emigration. I explore these concepts through the study of tropes, strategies of identity construction, and the politics of representation. The theoretical premises of my work draw on the literary and cultural criticism which has evolved around the study of travel and travel writing in recent years. These approaches have gained much from the scholarly experience provided by postcolonial critique. Shifting the focus away from the concept of exile, the traditional framework for scholarly discussions of Brodsky’s works, I propose to review Brodsky’s travel poetry and prose as a response not only to his exilic condition but to the postmodern and postcolonial landscape, which initially shaped the writing of these texts. Discussing Brodsky’s travel writing in this context offers previously unexplored perspectives for analyzing the geopolitical, philosophical, and linguistic premises of his poetic imagination. By situating Brodsky’s travel writing in the geopolitical landscape of postcolonial postmodernity, I attempt to show how Brodsky’s engagement with his contemporary cultural practices in the West was incorporated into his Russian-language travel poetry and prose and how this engagement thus contributed to these texts’ status as exceptional and unique literary events within late Soviet Russian cultural practices.

Tyhjyyden reunalla, helvetin kannella : Yhtenäisen subjektin hajoaminen Saul Bellowin Herzogissa

The study shows that the reading paradigm derived from codes Roland Barthes presented in his S/Z exposes the postmodernic nature of Saul Bellow s Herzog (1964), and embodies in which way the novel is organized as a radical rewriting of modernism and its ideology. I explore how solid, compact and modernistic subject breaks down at every level of Herzog s narration. I actually argue that the heteroglossic novel is representative of an early American postmodern movement in literaure, and it should by no means be dissected narrowly as a realistic or naturalistic novel at all. The intertextual code verifies that the interpretation of Herzog remains inadequate if one doesn t take account of the novel s significant intertextual references to other texts. In fact, even the mind of Moses Herzog, the protagonist of the novel, is a mosaic of citations. It emerges from the dissertation that the figure of Don Quixote follows Moses Herzog as an ambiguous shadow while the professor of history struggles with his anxiety and anguish, and travels in a mentally confused state around the U.S. for five days in the early 1960s, encountering the impending atmosphere of transition as the country is on the threshold of a significant cultural and social change. There is a strong necessity for updated interpretation of Herzog partly because its centrality to Bellow s own career as a writer but mainly because it has been previously read trough modernistic lenses. I shall try to proof in my study that American Jewish Saul Bellow s (1915 2005) Herzog escapes any kind of simple, elemental or essentialistic construction or reading and in real terms it doesn t offer any comprehensive, total or coherent solution or system for those philosophical doctrines it criticizes and makes fun of. The philosophical, conceptual and cultural substance of Herzog does not constitute an independent or autonomous theoretical tract which would have a life of its own. Altough the novel reflects the continuity of Bellow s writing it is clearly some kind of conscious or unconscious experiment during his long career as a writer. He hasn t been so radical before or since the publication of Herzog. It is unarguably his most postmodern novel.The reading paradigm based on specific codes demonstrates how deep into the basic questions of his personal life and existence itself he must dive in oder to find his many ways towards authentic or primordial self in fragmented and shattered world which is constanly rewritten and which makes human being a tourist of his own life. In that ongoing process the protagonist has to accept the ultimate plurality of his mind and self. He must confront that the modernistic definition of identity as a solid, monolithic and stable entity has broken down into different, inconsistent and even contradictory possibilities of identification. Moses Herzog embodies obviously Stuart Hall s description of the postmodern self his identity has turn into a movable feast.