PARTISAN REVIEW
thing that was violently opposed by the Bolsheviks during that time–
the Russian offensive of 1916-17.
If
Zensky had written about the
nineteenth century or even the 1904-5 war
in
the same style, it would
no doubt have passed without criticism. But to side with Czarism in
events that occurred a few months before the October Revolution–
this was a little too much! Above all, it stood in striking contrast
with the famous party history, which could not suddenly be with–
drawn. Considering these facts, the reprobation meted out to Zensky
was rather mild.
The new "literary Czars" who have emerged from the purge
are Simonov, Fadeyev, Gorbatov, Vishnevsky, Korneichuk. All of
them are from thirty-five to forty-five years old, party members, and
mediocre writers, good propagandists who can write fluently about
problems of the day. Their works are successful at the time of their
appearance, but are completely forgotten two years later in spite of
all the propaganda efforts made for them. They are able to portray
reality faithfully (i.e., in such a manner as is demanded at any par–
ticular period ) , but do not possess any original ideas, personality, or
other distinction. Under their leadership, nothing will change in
Soviet literature-it will inevitably sink further, in the same direction
that it has been going for the past fifteen years.
A purge can accomplish only so much. One can expel writers
and imprison them. One can forbid them to write about certain
themes and in a certain style. One can order them to write about cer–
tain themes and in a given style. One can also give orders that great
works of art must be written (as in Russia today). We have seen the
outcome.
The Soviet press contradicts the theory prevalent among its authors
that no great works about the present should be expected from con–
temporaries, but that these can only be produced by future generations.
This is certainly a harmful theory, but does anyone pose the question
why
the writers are such defeatists? Where else in the world has there
ever been such a "theory"? The answer is obvious: either there is a
whole generation of untalented writers in Russia-or: conditions
in
present-day Russia make it impossible to create valuable works of art.
We do not doubt that the second alternative is correct.
What use can there be, under these circumstances, in demanding
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