Boris Dralyuk received his Ph.D. (2011) in Slavic Languages and Literatures from UCLA, where he is now a Lecturer. He has published work on various topics in Russian, Polish, and American literature, and works as a translator.
All those interested in popular genres, crime fiction, popular culture in the Russian Empire, Soviet literature, the dynamics of adaptation and cultural appropriation.
"Boris Dralyuk’s Western Crime Fiction Goes East is an impressive and enormously enjoyable piece of literary and cultural analysis; [it] provides fascinating insights into the evolution of Russian-Soviet popular culture and is a significant and striking addition to the current critical focus on cross-cultural crime fiction."
Lee Horsley, Lancaster University (http://www.crimeculture.com/?page_id=4215)
“By the early 1930s the effort to generate communist alternatives to boulevard serials was widely judged to have been a failure, despite a few notable exceptions and the production of films from them […] Despite their failure, however, Dralyuk asserts that the experiment should not be written off as a simple curiosity of the NEP era. Arguing that parody is a means of engaging with, while separating from, an artistic progenitor, he sees the red Pinkertons as a critical stage in the evolution of socialist realism rather than as a literary dead end. […] Dralyuk has presented a well-researched and entertaining analysis that redeems the red Pinkerton as an important, albeit unsuccessful, episode in Soviet cultural history.”
T. Clayton Black, Washington College, in The NEP Era: Soviet Russia 1921-1928, vol. 7.
Table of contents
List of Illustrations
Chapter 1 – “As Many Street Cops as Corners”: Displacing 1905
in the Pinkertons
Chapter 2 – A Terrible Vengeance: The “Avenger Detective” in Russia
Chapter 3 – Slumming Littérateurs and Starving Students
The Pinkertons’ Purported Authors
Chapter 4 – The Persistence of Pinkertons: Reception Before and
After the Revolution
Chapter 5 – The Red Pinkerton’s Rise: Bukharin and the Komsomol
Chapter 6 – How the Mess Was Mended: Marietta Shaginian and Red
Chapter 7 – The Novel, the Film, and the Kinoroman: Parody and the
Decline of the Red Pinkerton
Chapter 8 – The Question of Genre and the Pinkertons’ Legacy