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 ———————————————————— Introduction ————————————————————

I SAW IT
Ilya Selvinsky and the Legacy of
Bearing Witness to the Shoah

With Translations of Major Works

Copyright © 2013. Academic Studies Press. All rights reserved.

—i—

I Saw It : Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, Academic Studies Press, 2013. ProQuest Ebook Central,
 ———————————————————— Introduction ————————————————————

Studies in Russian and Slavic Literatures, Cultures, and History

Series Editor – Lazar Fleishman (Stanford University)

Copyright © 2013. Academic Studies Press. All rights reserved.

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I Saw It : Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, Academic Studies Press, 2013. ProQuest Ebook Central,
 ———————————————————— Introduction ————————————————————

I SAW IT
Ilya Selvinsky and the Legacy of
Bearing Witness to the Shoah
With translations of Major Works

MaXiM D. SHRAYER
Copyright © 2013. Academic Studies Press. All rights reserved.

Boston 2013
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I Saw It : Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, Academic Studies Press, 2013. ProQuest Ebook Central,
 ———————————————————— Introduction ————————————————————

Library of Congress Cataloging-in-Publication Data:

A bibliographic record for this title is available from the Library of Congress.
ISBN 978-1-618111-69-2 (cloth)
ISBN 978-1-61811-191-3 (electronic)
ISBN 978-1-61811-307-8 (paper)
Book design by Adell Medovoy
Published by Academic Studies Press in 2013
28 Montfern Avenue
Brighton, MA 02135, USA
[email protected]
www.academicstudiespress.com

I Saw It: Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah
By Maxim D. Shrayer

Copyright © 2013 by Maxim D. Shrayer. All rights reserved worldwide, including electronic.
English translations copyright © 2010-2013 by Maxim D. Shrayer. All rights reserved
worldwide, including electronic.

First Edition 2013

Works by Ilya Selvinsky are reprinted and translated by the permission of Tatiana
Selvinskaya. Russian originals copyright © The Estate of Ilya Selvinsky.

Some of the illustrations used in this book come from sources in which the photographic
Copyright © 2013. Academic Studies Press. All rights reserved.

materials or the names of the photographers were not identified. Every effort was made to
seek appropriate permission to reproduce the illustrations used in this book.

Cover image: The Bagerovo Anti-Tank Ditch. Crimea, 14 December 2011

© by Maxim D. Shrayer.

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I Saw It : Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, Academic Studies Press, 2013. ProQuest Ebook Central,
 ———————————————————— Introduction ————————————————————

In memoriam Pyotr (Peysakh) Shrayer

Copyright © 2013. Academic Studies Press. All rights reserved.

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I Saw It : Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, Academic Studies Press, 2013. ProQuest Ebook Central,
Copyright © 2013. Academic Studies Press. All rights reserved.

I Saw It : Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, Academic Studies Press, 2013. ProQuest Ebook Central,
 ———————————————————— Introduction ————————————————————

Contents

List of Illustrations ix

Introduction xv

ch a p t e r on e: Selvinsky on the Shoah by Bullet 1

1. Selvinsky before the War: Poetics and Politics 1

2. The Nazi Invasion and the Frontlines 15
3. Jewish Poems in Praise of the Soviet Dictator? 24
4. The Massacre at Kerch: History, Witnessing, Memory 30
5. “I Saw It!” 82
6. Revisi(ti)ng the Memories: “Kerch” and “The Trial in Krasnodar” 117

ch a p t e r t wo : The Price of Bearing Witness to the Shoah 137

1. Selvinsky’s Troubles of 1943-1944 137

2. In the Moscow Exile 171
3. (Re)reading Stalin 181

ch a p t e r th r e e: The Victory and Beyond 187

1. Selvinsky and Jewish-Russian Shoah Poetry in 1944-1945 187

2. Kandava/Kandau 195
Copyright © 2013. Academic Studies Press. All rights reserved.

3. Selvinsky during zhdanovshchina and the Anticosmopolitan Campaign 212

4. The Ashes and Bones of Crimea 222

chapter four: Selvinsky’s Legacy and Soviet Shoah Poetry 226

1. The Anxiety of Noninfluence: Ozerov, Slutsky, Samoilov 226

2. Selvinsky Agonistes 253

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Appendix: Two Shoah Poems by Ilya Selvinsky:

Russian originals and English translations 263

1. “Я это видел!”—“I Saw It” 263

2. “Керчь”— “Kerch” 270

Works Cited 278

Acknowledgments 312

Index 316
Copyright © 2013. Academic Studies Press. All rights reserved.

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List of Illustrations

1. Ilya Selvinsky (center) with fellow members of the Literary Center of

Constructivists. Moscow, 1925. From left to right: Vladimir Asmus, Aleksandr
Kvyatkovsky, Eduard Bagritsky, Kornely Zelinsky, Nikolay Aduev, Ilya
Selvinsky, Boris Agapov, Vladimir Lugovskoy, Grigory Gauzner (standing),
Vera Inber, and Evgeny Gabrilovich. (Courtesy of Russian State Archive of
Literature and the Arts, Moscow.)
2. Ilya Selvinsky (second from left) with fellow participants of the SS Chelyuskin
expedition. Murmansk. Circa August 1933. (Courtesy of Tatyana Selvinskaya.)
3. Ilya Selvinsky with his family members. Moscow, April 1941. Left to
right: Selvinsky, wife Berta, stepdaughter Tsetsiliya, mother-in-law Anna
Moiseevna; facing away from camera, daughter Tatyana. (Courtesy of Tatyana
Selvinskaya.)
4. Ilya Selvinsky. Identification as a special correspondent of Krasnaia zvezda
(Red Star), issued on 22 October 1942. Signed “D. Vadimov,” penname of
Major General David Ortenberg, editor of Red Star. (Courtesy of Ilya Selvinsky
Memorial Museum, Simferopol.)
5. Ilya Selvinsky. Army identification as a staff writer for Syn otechestva (Son of
Fatherland), issued on 18 September 1941 by the 51 Separate Army. (Courtesy
of Ilya Selvinsky Memorial Museum, Simferopol.)
6. Ilya Selvinsky (on the left) with Aleksandr Terlovsky, who headed the propa-
ganda section at Syn otechestva (Son of Fatherland). Circa late 1941-early 1942.
(Courtesy of Tatiana Selvinskaya).
7. Ilya Selvinsky with colleagues at the office of Boevoi natisk (Fighting Thrust),
newspaper of the Crimean Front. Circa early spring 1942. Left to right, bottom
Copyright © 2013. Academic Studies Press. All rights reserved.

row: D. Berezin (editor), I. Selvinsky; top row: V. Machavariani, D. Dzhafarov,

V. Losev. (Courtesy of Ilya Selvinsky Memorial Museum, Simferopol.)
8. Ilya Selvinsky (second from left). The Crimean Front. Circa late winter-early
spring 1942. (Courtesy of Tatyana Selvinskaya).
9. Ilya Selvinsky (fourth from right; annotated by Selvinsky) with the troops
of Major General Vasily Kniga (first on right), commander of 72nd (Kuban
Cossack) Cavalry Division. Crimea. Circa March 1942. (Collection of Maxim D.
Shrayer.)
10. Crimea with principal urban centers. Contemporary map. (The YIVO Encyclope-
dia of Jews in Eastern Europe, vol. 1, New Haven, 2008, Courtesy of YIVO.)

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11. Kerch and Environs, with reference to the Nazi occupation (1941-1944) and
Ilya Selvinsky’s experience as a military officer and witness to the Shoah on the
Kerch peninsula. (Cartography based on www.ukrmap.com.ua, with annota-
tions and legend by Maxim D. Shrayer.)
12. The first page of Ilya Selvinsky’s wartime diary for 1942, with the poet’s
impressions of having seen the Bagerovo anti-tank ditch. (Courtesy of Ilya
Selvinsky Memorial Museum, Simferopol.)
13. Sennaya (Haymarket) Square, Kerch. Plaque at 15 Proletarskaya Street, un-
veiled in 2002 to commemorate the murder of the Jews of Kerch in 1941. 14
December 2011. (Photo by Maxim D. Shrayer.)
14. The marker on the post-Soviet monument (2009) at the Bagerovo anti-tank
ditch. 14 December 2011. (Photo by Maxim D. Shrayer.)
15. The marker on the Soviet-era monument (circa 1975-1976) at the Bagerovo
anti-tank ditch. 14 December 2011. (Photo by Maxim D. Shrayer.)
16. The Bagerovo anti-tank ditch. The Soviet-era monument commemorating the
murder of “over seven thousand peaceful Soviet citizens” (circa 1975-76) and
the post-Soviet monument (2010) commemorating the murder of “thousands
of Jews.” 14 December 2011. (Photo by Maxim D. Shrayer.)
17. Sennaya (Haymarket) Square, Kerch, where the Jews of Kerch were ordered to
appear on 29 November 1941 and from where they were marched to the city
jail and subsequently trucked to the Bagerovo anti-tank ditch and murdered.
1947. (Courtesy of Vladimir Sanzharovets.)
18. View of Proletarskaya Street at Sennaya (Haymarket) Square. Kerch. 14
December 2011. (Photo by Maxim D. Shrayer.)
19. View of Kerch Embankment. Circa January 1942. (Courtesy of Vladimir
Sanzhrovets.)
20. The Bagerovo anti-tank ditch, with mountains of the Katerlez Range in the
background. From the January 1942 series of photos of the Bagerovo ditch.
Photo by Evgeny Khaldey. (Konstantin Khodakovsky’s album “Kerch dur-
Copyright © 2013. Academic Studies Press. All rights reserved.

ing the Great Patriotic War,” with notes by Vladimir Sanzharovets based on
Khaldey’s notebooks, http://fotki.yandex.ru/users/khodak.)
21. The Bagerovo anti-tank ditch, with mountains of the Katerlez Range in the
background and Mt. Turkmenskaya on the far left. 14 December 2011. (Photo
by Maxim D. Shrayer.)
22. Order No. 5 (early December 1941), signed “German security police” and
posted around Kerch, ordering all the remaining Jews of Kerch to appear im-
mediately at 2 Karl Liebknecht Street. (Courtesy of Boris Berlin.)

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23. Grigory Berman over the bodies of his wife and children. From the January
1942 series of photos of the Bagerovo ditch. Photo by Evgeny Khaldey. (From
Konstantin Khodakovsky’s album “Kerch during the Great Patriotic War,” with
notes by Vladimir Sanzharovets based on Khaldey’s notebooks, http://fotki.
yandex.ru/users/khodak.)
24. Raisa Belotserkovskaya, one of the few Jewish survivors, standing over the
Bagerovo anti-tank ditch in 1947. (Courtesy of Vladimir Sanzharovets.)
25. From the January 1942 series of photos of the Bagerovo ditch. Photo by
Dmitri Baltermants. (“Dmitry Baltermants,” http://club.foto.ru/classics/36.)
26. Kerch residents looking at the information window depicting the Nazi atroci-
ties at Kerch. The window was coproduced by the Telegraph Agency of the USSR
(TASS) and Syn otechestva (Son of Fatherland), newspaper of the 51st Separate
Army, where Selvinsky served until February 1942. January 1942. Photo by
Evgeny Khaldey. (From Konstantin Khodakovsky’s album “Kerch during the
Great Patriotic War,” with notes by Vladimir Sanzharovets based on Khaldey’s
notebooks, http://fotki.yandex.ru/users/khodak.)
27. German Atrocities in Kerch. A page spread printed in Krasnyi Krym (Red
Crimea) on 24 January 1942. Photos and text by Mark Turovsky and Izrail
Antselovich.
28. “We Shall Avenge!” A section of a page spread on Nazi atrocities with two
uncredited photos (top by Evgeny Khaldey, bottom by either Mark Turovsky,
Izrail Antselovich or Mark Redkin) depicting the aftermath of the Bagerovo
mass execution. In the top photo Grigory Berman is identified by name.
Fotogazeta PURa (Photonewspaper of the Political Directorate of the Red Army).
February 1942. (Courtesy of Vladimir Sanzharovets.)
29. Ilya Selvinsky. “I Saw It!” as published in Krasnaia zvezda (Red Star), 27
February 1942.
30-31. Title page and table of contents of Selvinsky’s Ballads, Posters and Songs.
Krasnodar, 1942.
Copyright © 2013. Academic Studies Press. All rights reserved.

32-33. Cover and table of contents of Selvinsky’s Ballads and Songs. Moscow, 1943.
34. Two pages from the collection The Atrocities of German Fascists in Kerch
(Sukhumi, 1943) where Selvinsky’s “I Saw It!” was reprinted. On the left side
is a page of the poem, on the right, a photograph of a mother with her infant
child murdered at the Bagerovo anti-tank ditch.
35-36. Ilya Selvinsky, “Once Again about Hitlerite Atrocities.” Boevoi natisk (Fighting
Thrust), 24 February 1942. The image on the right shows a clipping with the
closing section crossed out and a note in Selvinsky’s hand: “the editor’s inser-
tion.” In the inserted section the editor, Colonel Dmitri Berezin, placed a quote
from Stalin. (Courtesy of Ilya Selvinsky Memorial Museum, Simferopol.)

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 ———————————————————— Illustrations ————————————————————

37. Map of ancient Greek colonies in the Northern Black Sea, with the Crimean
peninsula in the center. (Wikimedia).
38. View of Kerch Bay from Mount Mithridates. 14 December 2011. (Photo by
Maxim D. Shrayer.)
39. View of modern Kerch from Mount Mithridates with the Great Mithridates
Stairs. Photo by Sergey Sorokin. (Courtesy of Sergey Sorokin.)
40. View of the Panticapeum ruins in modern Kerch. 14 December 2011. (Photo
by Maxim D. Shrayer.)
41. Aleksandr Romm. “Nadiusha.” Kerchenskii rabochii (Kerch Worker), 15 January
1942.
42. Veniamin Goffershefer. “Bagerovo.” Syn otechestva (Son of Fatherland), 29
January 1942.
43. Ilya Selvinsky. The North-Caucasus Front. Circa autumn 1942. (Courtesy of
Tatyana Selvinskaya.)
44. Ilya Selvinsky (center) with poets Nikolay Aseev and Boris Pasternak, during
Selvinsky’s leave from the front. Chistopol, Tatarstan. Circa August 1942.
(Courtesy of Tatyana Selvinskaya.)
45-46. Title page and first two pages of the table of contents of Ilya Selvinsky’s
Crimea, Caucasus, Kuban. Moscow, 1947.
47. Ilya Selvinsky’s selected list of work and service experience, 1917-1945, with
corrections and the three wartime entries written in by Selvinsky. There
is a gap, from February 1944 to April 1945, in Selvinsky’s military service.
(Courtesy of Ilya Selvinsky Memorial Museum, Simferopol).
48-49. Pages 2-3 and 4-5 of Ilya Selvinsky’s military registration card (voennyi
bilet), issued on 15 November 1948. Pages 2-3 list Selvinsky’s nationality as
“Krymchak” and his native language as “Russian.” Pages 4-5 refer to the period
from February 1944 to April 1945 as being “a reservist.” (Courtesy of the Ilya
Selvinsky Memorial Museum, Simferopol.)
Copyright © 2013. Academic Studies Press. All rights reserved.

50. Ilya Selvinsky (first on left) with Yakov Khelemsky (center), their fellow officers
and a driver. The 2nd Baltic Front, May 1945. (Courtesy of Tatyana Selvinskaya).
51. Page of Ilya Selvinsky’s wartime diary entry for 12 May 1945, with a descrip-
tion and a drawing of the capitulation of a Nazi division at Kandava. (Courtesy
of Ilya Selvinsky Memorial Museum, Simferopol.)
52. Ilya Selvinsky. 1940s. (Courtesy of Tatyana Selvinskaya.)
53. Ilya Selvinsky in his study, with a bust of Voltaire. Moscow, 1940s. (Courtesy
of Tatyana Selvinskaya.)

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54. Ilya Selvinsky with Tatyana Selvinskaya. 1949. (Courtesy of Tatyana

Selvinskaya.)
55. Ilya Selvinsky. 1950s. (Courtesy of Tatyana Selvinskaya.)
56. Ilya Selvinsky. Portrait by Tatyana Selvinskaya. (Courtesy of Tatyana
Selvinskaya.)
57. Ilya Selvinsky. Circa 1964. (Courtesy of Tatyana Selvinskaya.)
58. Lev Ozerov. Circa early 1960s. Lev Ozerov, Lirika, Moscow, 1964. Copy auto-
graphed to David Shrayer-Petrov. (Courtesy of D. Shrayer-Petrov.)
59. Boris Slutsky. Circa middle 1970s. (Boris Slutsky, Neokonchennye spory,
Moscow, 1978.)
60. David Samoilov. Pamiatnye zapiski. Moscow, 1989
61. The anti-tank ditch at the 10th km. of the Simferopol-Feodosia Highway. 14
December 2011. Photo by Maxim D. Shrayer.
62. Front and back of the invitation to an evening commemorating the 70th an-
niversary of Ilya Selvinsky’s birth at the Central House of Writers in Moscow.
24 October 1969. The participants include poets Semyon Kirsanov, Pavel
Antokolsky, Lev Ozerov, and David Samoilov. (Collection of Maxim D. Shrayer.)
63. Ilya Selvinsky with grandson Kirill. July 1963. (Courtesy of Tatyana
Selvinskaya.)
64. Ilya Selvinsky. A selection of poems published in Ogonek 60 (1960), with
“Jewish Melody” in the central column.
Copyright © 2013. Academic Studies Press. All rights reserved.

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 ———————————————————— Introduction ————————————————————

Я очень бледно это описал

В стихотворении “Я ЭТО ВИДЕЛ!”
И больше не могу ни слова.
Керчь…

I have described this very hazily

In the poem “I SAW IT!”
And I cannot add even a single word.
Kerch…

Ilya Selvinsky, “Kerch,” 1942

Back at the headquarters of the front they told me that the family of [Colonel
Abram] Khasin was murdered during the mass execution of the civilian
population of the city of Kerch, carried out by the Hitlerites, and that by chance
Khasin came upon a photograph of the dead lying in a ditch and recognized his
wife and children. I was thinking: What must this person feel when he leads his
tanks into battle.

Vasily Grossman, Years of War. Notebooks, 1942

Copyright © 2013. Academic Studies Press. All rights reserved.

I walked on a stomped-out path … and 10,000 eyes that belonged to the

vilest enemies of my people (both Russian and Jewish) stared at me from the
formation.

Ilya Selvinsky, Wartime Diaries, 1945

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Introduction

Over fifteen years ago I wrote Russian Poet/Soviet Jew: The Legacy
of Eduard Bagritsky. Published in 2000, it explored the political and cul-
tural anxieties of a major Jewish-Russian poet living and working in the
Soviet 1920s and early 1930s. Eduard Bagritsky and the protagonist of
the present book, Ilya Selvinsky, were close in Moscow in the middle
to late 1920s. Both were Jews originally from the coast of the Black
Sea; both were members of the Literary Center of Constructivists, over
which Selvinsky presided until its dismantlement in 1930; and both
were talented poets famous on the early Soviet literary scene. It was
Bagritsky who, in a poem of 1927, laid Selvinsky, along with Nikolai
Tikhonov and Boris Pasternak, on the altar of the 1920s Soviet mod-
ernism: “To the alien West/ rushing over [fields of] harvested crops/
Tikhonov, Selvinsky, Pasternak….”
The career of Ilya Selvinsky (1899-1968) is emblematic of the ex-
perience of Jewish-Russian poets during World War II and the Shoah
(Holocaust).i Selvinsky spent roughly the first two and a half years
(summer 1941-autumn 1943) and the last month of the war (April-
May 1945) at the frontlines. Serving as a staff writer and editor of army
newspapers and also participating in combat, Selvinsky contributed
only about twenty prose items during the wartime years. Poetry, not
Copyright © 2013. Academic Studies Press. All rights reserved.

journalism or essayism, was Selvinsky’s principal medium of writing

and publishing about the events he witnessed and participated in. His
poetic contributions to army newspapers ranged from lyrical, patriotic,
or political poetry to rhymed captions to anti-Nazi cartoons.ii He com-
posed longer and shorter poems with references to the Shoah, several
of them explicit in their articulation of Jewish losses.iii
Selvinsky was able to steer his Shoah poems into print during and
immediately after the Great Patriotic War (as the war against Nazi
Germany and its allies became known in the Soviet Union), although
he made compromises, some of them negotiating the official Soviet

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views of Jewish victimhood.iv During the war, he experienced political

repression, paying a high price for his poems about the war and Shoah.
This book explores the dynamics of Selvinsky’s wartime career by
placing it first in the historical contexts of World War II and the Shoah,
and subsequently in the cultural and ideological contexts of postwar
Stalinism. The book’s final section investigates Selvinsky’s legacy as a
poet-soldier and a witness to the Shoah in the occupied Soviet territories.

***

As I wrote and revised this book, and especially after I came upon
tiers of new evidence during a research trip to Crimea, I had to remind
myself that I was not writing a poet’s biography. I wanted to tell the
story of Soviet poetry of the Shoah through the prism of one poet’s life
and work. I did not set out to create a history of Shoah literature in
the USSR, nor had I initially intended to write either a history of the
Shoah in Selvinsky’s native Crimea or a study of the cultural legacy of
the Shoah in the Soviet Union. These topics, absorbing as they are and
understudied as they still remain, left a lot still to be discovered and
investigated. Such are, to a degree, the pains of interdisciplinary study,
and these challenges are rendered more complex when the subject
“Soviet Union” is coupled with the heading “Jews” and placed in the time
frame of World War II and the Shoah.
Copyright © 2013. Academic Studies Press. All rights reserved.

***

Since my Moscow youth, both Eduard Bagritsky and Ilya Selvinsky have
been among my favorite poets. My views of Bagritsky’s poetry and
Jewishness have evolved over the years, and I hope to revisit them before
long. Having completed a book about Ilya Selvinsky as a principal Jewish-
Russian poetic voice of the Soviet 1940s, I now realize that this volume
is in a number of ways a sequel to my earlier book about Bagrtisky and

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Jewish-Russian poetic identity. It is, perhaps, fitting that this book not
only tells the story of Selvinsky as a witness to the Nazi atrocities but
also includes English translations of Selvinsky’s major Shoah poems.

M.D.S

December 2011; April 2012; January 2013

Brookline, Massachusetts

Notes to Introduction

i. Anglicized, reader-friendly spellings of Russian names are used in the main

text; if a name has already gained a common spelling in English, this spelling is
then used (e.g. Ehrenburg, not Erenburg; Novy Mir, not Novyi mir). In rendering
the Russian-language bibliographical references, a slightly simplified version of
the US Library of Congress transliteration system is used.
Unless indicated otherwise, all translations from the Russian are mine. As
a general principle, literary translations of verse are printed as verse, whereas
literal translations of verse are printed as prose with indications of the line
boundaries. In some cases, preference is given to literary, not literal, English
translations of poetic texts. Even though the literary translations I quote are
metrically precise and relatively close to the Russian originals, one cannot
rely on the English texts alone to draw accurate conclusions about the poem’s
structure, meaning, and significance.
Copyright © 2013. Academic Studies Press. All rights reserved.

Unless noted otherwise, I reference only the publications I have examined

de visu, the latter circumstance being particularly significant in the case of
original wartime publications in regional or army newspapers, some of which
are extremely difficult to locate even in Russian and Ukrainian libraries or even
in Crimean libraries and archives.

ii. As an example of Selvinsky’s cartoon captions, see, for instance, “Fashisty—o

blagodarnost’ sud’be…” Syn otechestva 20 October 1941.

iii. I have previously discussed Selvinsky’s experience as a Shoah poet; see

Shrayer, “Jewish-Russian Holocaust Poetry in Official Soviet Venues: 1944-

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I Saw It : Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, Academic Studies Press, 2013. ProQuest Ebook Central,
 ———————————————————— Introduction ————————————————————

1946 (Antokolsky, Ehrenburg, Ozerov),” paper delivered at the Annual

Conference of the Association for Jewish Studies (AJS) (Washington, 21
December 2008); “Ilya Selvinsky,” in An Anthology of Jewish-Russian Literature:
Two Centuries of Dual Identity in Prose and Poetry, 1801-2001, 2 vols., ed.
Maxim D. Shrayer, 1: 226-227 (Armonk, NY: M. E. Sharpe, 2007); Shrayer,
“Selvinskii, Ilia Lvovich,” in The YIVO Encyclopedia of Jews in Eastern Europe, 2
vols., ed. Gershon David Hundert, 2: 1684-1685 (New Haven: Yale University
Press, 2008); Shrayer, “Bearing Witness: The War, the Shoah and the Legacy
of Vasily Grossman,” The Jewish Quarterly 217 (Spring 2011): 14-19; “Jewish-
Russian Poets Bearing Witness to the Shoah, 1941-1946: Textual Evidence
and Preliminary Conclusions,” in Papers from the VIII World Congress of the
International Council for Central and East European Studies, Stockholm, July
2010, ed. Stefano Garzonio, 59-11 (Bologna: Portal on Central European and
Balkan Europe, 2011). http://www.iecob.net.
For a detailed, albeit not exhaustive, bibliography of works by and about
Selvinsky, see “Sel’vinskii, Il’ia L’vovich,” in Russkie sovetskie pisateli. Poety
(Sovetskii period). Bibliograficheskii ukazatel’, vol. 23: 35-50 (St. Petersburg:
Rossiiskaia natsional’naia biblioteka, 2000). The bibliography is missing some
of the wartime publications. Selvinsky’s wartime poems with explicit Shoah
and Jewish references include: “Evreiskomu narodu” (“To the Jewish People,”
1941); “Ia eto videl!” (“I Saw It!” 1942); “Kerch’” (1942; pub. 1945); “Otvet
Gebbel’su” (“A Reply to Goebbels,” 1942); “Sud v Krasnodare” (“A Trial in
Krasnodar,” 1943; pub. 1945); “Krym” (“Kak boi barabana, kak golos kartechi…,”
[“Like drumbeat, like the voice of canister shots…”] 1944, pub. 1945); “Krym”
(“Byvaiut kraia, chto nedvizhny vekami…”) (“Crimea” [“There are regions
unchanged by centuries…”], 1945; pub. 1962); Kandava (1945); “Sevastopol’”
(Sebastopol,” 1944; pub. 1945).

iv. The primary published source of information about Selvinsky’s war years is
Vera Babenko, Voina glazami poeta: Krymskie stranitsy iz dnevnikov i pisem I. L.
Sel’vinskogo (Simferopol’: Krymskaia Akademiia gumanitarnykh nauk; Dom-
muzei I. L. Sel’vinskogo, 1994). Babenko published—and commented on—
extensive excerpts from Selvinsky’s wartime diaries and letters. However, her
Copyright © 2013. Academic Studies Press. All rights reserved.

valuable publication contains a number of errors, including those in the dating

of diary excerpts. Babenko’s book also includes Eduard Filat’ev’s article “Taina
podpolkovnika Sel’vinskogo,” Babenko, 69-82. Filat’ev’s article does not contain
a scholarly apparatus or use footnotes, and the sources of his information stand
in need of further verification.
See also Liudmila Daineko’s investigation of Selvinsky’s war experience
in Kerch, 1941-1942: “Sel’vinskii i Kerch. Noiabr’, 1941-mai, 1942,” in Vestnik
Krymskikh Chtenii I. L. Sel’vinskogo, vol. 1, 63-71 (Simferopol: Krymskii Arkhiv,
2002).
Parts of Selvinsky’s wartime diaries and a few of his wartime letters to
family members have previously appeared; the largest selection, which for the

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I Saw It : Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, Academic Studies Press, 2013. ProQuest Ebook Central,
 ———————————————————— Introduction ————————————————————

most part overlaps with the materials that Babenko quotes in Voina glazama
poeta, appeared as Sel’vinskii, “Ia eto videl” (Krymskie stranitsy voennykh
dnevnikov), ed. Ts. A. Voskresenskaia and R. M. Goriunova, Krym-90. Al’manakh,
76-85 (Simferopol’: Tavriia, 1990); see Sel’vinskii, “Na voine. Iz dnevnikov i
pisem rodnym,” ed. Ts. Voskresenskaia, Novy mir 12 (1984): 163-175.
Maurice Friedberg might have been the first Western scholar to mention
Selvinsky’s World War II “moving poems dealing with the tragic fate of
Russian Jewry”; see Friedberg, “Selvinskii, Ilya Lvovich,” in Encyclopedia
Judaica, 14: 1137 (Jerusalem: Keter Publishing House, 1972). Benjamin
Pinkus included Selvinsky in a short list of Jewish-Russian poets who wrote
about the Shoah; see Pinkus, The Soviet Government and the Jews 1948-1967:
A Documentary Study, 389 (Cambridge: Cambridge University Press, 1984).
Some of Selvinsky’s poems about the Shoah have been identified in an entry in
the Russian-language Jewish encyclopedia published in Israel; see “Sel’vinskii,
Il’ia L’vovich,” in Kratkaia evreiskaia entsiklopediia, vol. 7: 742-743 (Jerusalem:
Obshchestvo po issledovaniiu evreiskikh obshchin; Evreiskii universitet v
Ierusalime, 1994) [unsigned; entry by Mark Kipnis] and also in an entry in
the recent Russian encyclopedia of the Shoah, M[aria] M. Al’tman, “Poeziia,”
in Kholokost na territorii SSSR. Entsiklopediia, 2nd ed., ed. I. A. Al’tman, 789
(Moscow: Rosspen, 2011). Ada Kolganova included “I Saw It!” in her anthology;
see Sel’vinskii, “Ia eto videl!” in Menora. Evreiskie motivy v russkoi poezii, ed.
Ada Kolganova, 130-134 (Moscow-Jerusalem: Evreiskii universitet v Moskve,
1993). Feliks Kandel’ touches on Selvinsky’s “I Saw It!” in the opening of his
overview of the Soviet cultural response to the Shoah; see Kandel’, “Ocherk
shest’desiat chetvertyi. ‘Chernaia kniga’. Deiateli kul’tury i Katastrofa,” in
Kniga vremen i sobytii. Vol. 5. Istoriia evreev Sovetskogo Soiuza, 1939-1945,
http://felixkandel.org/index.php/books/295.html, last accessed 28 January
2012. In his recent book, “I am to be read not from left to right but in Jewish: from
right to left”: The Poetics of Boris Slutsky (Boston: Academic Studies Press, 2011),
Marat Grinberg comments on Selvinsky’s experience as a Shoah poet. I read
Harriet Murav’s book, Music from a Speeding Train: Jewish Literature in Post-
Revolutionary Russia (Stanford: Stanford University Press, 2011), in November
2011 as I revised this manuscript for publication. I noted Murav’s readings of
Copyright © 2013. Academic Studies Press. All rights reserved.

three of Selvinsky’s Shoah poems, “I Saw It!,” “Tribunal in Krasnodar,” and

Kandava (Murav, 134; 154-165). I further noted the absence of references to
“Kerch,” Selvinsky’s second principal poem about the Bagerovo anti-tank ditch
massacre. Finally, I noted that Murav does not discuss Selvinsky’s wartime
troubles and punitive dismissal from the army.
For additional sources of information on Selvinsky’s wartime years and
Crimean connections, see M. F. Arkharova, “Vmeste s nami shli v nastuplenie
stikhi Sel’vinskogo,” in O Sel’vinskom: vospominaniia, ed. Ts. A. Voskresenskaia
and I. P. Sirotinskaia, 106-112 (Moscow: Sovetskii pisatel’, 1982); “Avtory ‘Boevoi
Krymskoi,” Literaturnaia gazeta, 6 May 1970: 5 [selection of interviews]; Vera
Babenko and Vladislav Gavriliuk, “’Net, ia ne legkoi zhizn’iu zhil…,’” Krymskie

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I Saw It : Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, Academic Studies Press, 2013. ProQuest Ebook Central,
 ———————————————————— Introduction ————————————————————

penaty 2 (1996): 88-107; D. Berezin, “Oruzhiem stikha,” in O Sel’vinskom, ed. Ts.

A. Voskresenskaia and I. P. Sirotinskaia, 101-105; I. A. Dobrovol’skaia, “Eshche
moi brig ne trogalsia s prichala…”: O iunosti poeta Il’ii Sel’vinskogo (Simferopol’:
Krymskaia akademiia gumanitarnykh nauk, 1999); Vera Katina, “’Kazhdyi
chelovek imeet pravo na tumannyi ugolok dushi’ (evreiskaia tema v zhizni i
tvorchestve Il’i Sel’vinskogo),” in Dolia evreis’kykh gromad tsentral’noi ta skhidnoi
Evropy v pershii polovyne XX stolittia. Materialy konferentsii 6-28 serpnia 2003 r.,
Kyiv, http://www.judaica.kiev.ua/Conference/Conf2003/46.htm, last accessed
26 February 2011; Iakov Khelemskii, “Kurliandskaia vesna,” in Voskresenskaia
and Sirotinskaia, eds., O Sel’vinskom, 125-175; E. A. Nekrasova, “Voennaia
zhurnalistika Il’I Sel’vinskogo,” in Vestnik Krymskikh chtenii I. L. Sel’vinskogo,
vol. 2: 76-84 (Simferopol: Krymskii arkhiv, 2003); M. A. Novikova, “Zagadki
biografii Il’i Sel’vinskogo (nekotorye novye metody eksursionnoi raboty),” in
Vestnik Krymskikh chtenii I. L. Sel’vinskogo, vol. 2: 95-101 (Simferopol: Krymskii
arkhiv, 2003); Evdokiia Ol’shanskaia, “Mne zhizn’ podarila vstrechi s poetom,”
Zerkalo nedeli (1998), http://www.litera.ru/stixiya/articles/397.html, last
accessed 7 April 2010; Lev Ozerov, “Stakan okeana,” in O Sel’vinskom, ed. Ts.
A. Voskresenskaia and I. P. Sirotinskaia, 366-396; Lev Ozerov, “Il’ia Sel’vinskii,
ego trudy i dni,” in Il’ia Sel’vinskii, Izbrannye proizvedeniia v dvukh tomakh, ed. Ts.
Voskresenskaia and I. Mikhailov, 2 vols., 1: 5-20 (Moscow: Khudozhestvennaia
literatura, 1989); Osip Reznik, Zhizn’ v poezii: Tvorchestvo I. Sel’vinskogo
(Moscow: Sovetskii pisatel’, 1981); L. A. Rustemova, “Krymskii ‘kontekst’ I.
Sel’vinskogo,” in I. L. Sel’vinskii i literaturnyi protsess XX veka. V mezhdunarodnaia
nauchnaia konferentsiia, posviashchennaia 100-letiiu I. L. Sel’vinskogo. Materialy
73-80 (Simferopol’: Krymskii arkhiv, 2000); Margarita Shitova, “Neiasnaia bol’
nadezhdy,” Krymskie izvestiia, 4 November 2006, http://www-ki.rada.crimea.
ua/nomera/2006/205/bol.html, last accessed 7 April 2010; Mikhail Solomatin,
“My eto videli,” Zhurnal Mikhaila Solomatina, 21 October 2009, http://mike67.
livejournal.com/261554.html, last accessed 29 June 2010; David Shraer-Petrov,
“Karaimskie pirozhki. Il’ia Sel’vinskii,” in David Shraer-Petrov, Vodka s pirozhnymi:
roman s pisateliami, 272-282 (St. Petersburg: Akademicheskii proekt, 2007); P.
P. Sviridenko, “Stroka poeta v boevom stroiu (Iz frontovykh vospominanii),”
in O Sel’vinskom, ed. Ts. A. Voskresenskaia. and I. P. Sirotinskaia, 115-121.
Copyright © 2013. Academic Studies Press. All rights reserved.

See also Evgenii Evtushenko, “Nesostoiavshiisia velikii. Il’ia Sel’vinskii,” Novye

izvestiia 24 March 2006, http://www.newizv.ru/culture/2006-03-24/43038-
nesostojavshijsja-velikij.html, last accessed 10 April 2011. For a useful overview
of Selvinsky’s political troubles and censorial difficulties in 1943-1946, see P.
S. Reifman, “Glava piataia: Vtoraia mirovaia. Chast’ vtoraia,” in P. S. Reifman,
Iz istorii russkoi, sovetskoi i postsovetskoi tsenzury. http://www.gumer.info/
bibliotek_Buks/History/reifm/16.php, last accessed 6 April 2010. To the best
of my knowledge, Herman Ermolaev was the first Western scholar to discuss
Selvinsky’s wartime troubles in the context of Soviet censorship. See Ermolaev,
Censorship in Soviet Literature, 1917-1991, 73-74 (Lanham, MD: Rowman &
Littlefield, 1997).

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I Saw It : Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, Academic Studies Press, 2013. ProQuest Ebook Central,
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