Vassily Aksyonov's novel, The Burn and Allen Ginsberg's poem "Howl" are central to my contention that a direct and palpable link exists between the literary, jazz and underground youth movements existent in the USSR and US in the postwar years. In his novel, Aksyonov uses many devices and literary motifs that do not seem out of place in the work of Ginsberg or other members of the Beat Generation. The groundbreaking poem "Howl" utilizes a similar sense of verbal gymnastics that is present in the writing of Aksyonov. Both pieces make use of aspects of the carnivalesque, the grotesque, the medieval concept of the 'safety valve,' Billingsgate and confessional tone, among others in a sort of Dionysian bacchanal. Central to both movements is a sense of rebellion and reaction towards an increasingly conservative society, as well as a search for truth through the use and abuse of illicit substances. It is apparent that a direct correlation exits between the stuffy and isolationist outlook of postwar America and the stagnation and decline of the Brezhnev era Soviet Union as depicted in The Burn. The characters depicted within are searching for something that the system will not and cannot provide. And like Aksyonov, Ginsberg is also concerned with the concepts of the "high" and the "low" with regards to culture. Both authors teeter between the concepts of beauty and beatification and self- abuse and self-destruction in their quest to find universal truth. The Russian "New Wave" of literature, of which Aksyonov was a prominent member, simply shares too much in common with the Beat movement to be a mere coincidence. In this paper I will detail these many similarities and the possible reasons for them, as well as delve deeper into the connection that both literary movements shared with jazz and the culture that surrounds it, and how these subcultures were able to impact both their respective governments and the generations to come. / text

In my dissertation, I examine the works of six writers (George S. Kaufman, Moss Hart, Clarice and Elisa Lispector, Evgenia Ginzburg and Vasilii Aksyonov) who did not explore their Jewish identity in their texts and were subsequently left out of the canons of Jewish literature in their respective countries. My goal is to recalibrate the concept of the Jewish canon from the charged notion of identity to a theory of shared thematic material in which the works of hyphenated Jewish writers will be considered under the category of ‘Jewish American, Brazilian, or Russian’ if they share definite attributes. This was a transnational study showing that similar forces were at work not only in one country, but across continents, affecting the sensibilities of Jewish writers in remarkably similar ways. On a larger scale their de-thematized narratives share thematic tropes and belong to a ‘minor, liminal, marginal narrative,’ a narrative which attempted to work within the scope of the master narratives produced by the hegemonic culture. I have claimed that even though these six writers did not thematize identity in their texts, because of the negative political and social situation for the Jew in the first half of the twentieth century in western civilization, this situation and the writers’ own alterity produced similar and overlapping narratives. / text