"Russian modernism’s aesthetic orientation sought to expand 'in time,' not only 'in space.' Instead of geographically exploring the 'found' traditions of primitive cultures (as in the cases of Picasso or Gauguin), Russian modernists drilled through the layers of time to reach their own native land. In this compelling book, Michael Kunichika persistently returns to nineteenth-century history, poetry, and aesthetics, as well as to the origins of the discipline of archaeology in Russia, as he subtly reads modernist poetry, prose, visual works, and film. Kunichika’s original perspective on the subject—and how he conceptualizes it—will have major implications for our understanding of some of the most significant aesthetic and political developments in Russian modernism and beyond."

Michael Kunichika (PhD University of California, Berkeley) teaches in the Department of Russian and Slavic Studies at New York University.

Acknowledgments 8 Note on Translation and Transliteration 11 Introduction 12 i. Archaic Mirrors 15 ii. Elective Antiquities 19 Chapter One 27 The Archaeology of the Stone Babas and the Modernist Inheritance i. “Rough Hewn Statues” 34 ii. Idols Destroyed, Idols Displaced, 49 and the Steppe Denuded iii. The Modernist Peregrinations of the Stone Babas 57 Chapter Two 62 A Cultural Poetics of the Kurgan i. How to Excavate a Kurgan 62 ii. Gnedich, Iliada 69 iii. Vantage Points, ca. 1850 80 iv. 1876—The Grave Becomes a Cradle: 90 Zabelin contra Chaadaev v. Archaeological Defamiliarization 96 vi. Steppe Archaism and the Stratification of Time 100 Chapter Three 107 Ancient Statues, Ancient Terrors i. Archaic Simplicity 110 ii. Primitive Rudeness 120 iii. “No Ordinary Stone Woman” 128 Chapter Four 139 How a Modernist Artifact Is Made: The “Native Antiquity” of the Stone Babas and the Indigenization of Cubism i. The Stone Baba and the Bronze Horseman 147 ii. Indigenous Cubism 162 Chapter Five 173 Velimir Khlebnikov, Poet of the Stone Babas i. “The Stone Woman” (1919): Modernist Metamorphosis 178 ii. The Steppes of Time: “A Night in a Trench” 190 iii. The Grave of Khlebnikov 201 Chapter Six 204 The Landmarks of Time: Burial Mounds, Eurasian Necropolises, and Modernist Form in Boris Pil’niak’s The Naked Year i. Volga “Pompeiis” 211 ii. Scythianism, 1918 217 iii. Modernist Stratigraphy: Uvek, Site of Time 222 iv. Modernist Topography: “Loop Station Mar” and the Poetics of Adjacency 234 Chapter Seven 243 Areas of Deformation Part One: Dziga Vertov and the Scythian 243 i. Areas of Deformation 247 ii. The Shooting Log 261 iii. The Archaeology of the Superimpositions 271 iv. Archaeology with a Hammer 275 Part Two: Boris Pil’niak’s The Volga Falls 280 to the Caspian Sea and the Courage of Farewell i. All That Was Solid Did Not Melt into Air: 287 Persisting Things ii. The Fluids of History: 291 Archaeology and Antiquarianism iii. The Courage of Farewell: 297 The Return of the Stone Women iv. Coda 307 Bibliography 312 Index 326