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Central Peripheries

Central Peripheries explores post-Soviet Central Asia through the prism of nation-building. Although relative latecomers on the international scene, the Central Asian states see themselves as globalized, and yet in spite of – or perhaps precisely because of – this, they hold a very classical vision of the nation-state, rejecting the abolition of boundaries and the theory of the ‘death of the nation’. Their unabashed celebration of very classical nationhoods built on post-modern premises challenges the Western view of nationalism as a dying ideology that ought to have been transcended by post-national cosmopolitanism.

Marlene Laruelle looks at how states in the region have been navigating the construction of a nation in a post-imperial context where Russia remains the dominant power and cultural reference. She takes into consideration the ways in which the Soviet past has influenced the construction of national storylines, as well as the diversity of each state’s narratives and use of symbolic politics. Exploring state discourses, academic narratives and different forms of popular nationalist storytelling allows Laruelle to depict the complex construction of the national pantheon in the three decades since independence. The second half of the book focuses on Kazakhstan as the most hybrid national construction and a unique case study of nationhood in Eurasia.

Based on the principle that only multidisciplinarity can help us to untangle the puzzle of nationhood, Central Peripheries uses mixed methods, combining political science, intellectual history, sociology and cultural anthropology. It is inspired by two decades of fieldwork in the region and a deep knowledge of the region’s academia and political environment.

Leagues of Laughter

Leagues of Laughter traces how a Soviet-created youth game changed as students’ nation states collapsed, competed and went to war. The game, called KVN (Klub veselykh i nakhodchivykh, or Club of the Cheerful and Clever), spread to universities across the USSR in the 1960s. It is scored by a panel of judges, like figure skating, but is played in school and university leagues, much like football. KVN rocketed to mass popularity, oddly, due to Soviet censorship.

Young people could not protest in essays, speeches or fiction, but the referents of live jokes are hard to prove. KVN became a forum for Aesopian free speech. Soviet pedagogues promoted the game as a wholesome, intellectual youth activity, leading to a preponderance of ordinary schoolchildren gaining at least some experience writing jokes. Even after the fall of the USSR, millions of young people across the former Soviet bloc continued playing KVN in schools, universities and semi-pro leagues. Drawing on fieldwork in Russia and Ukraine between 2015 and 2019, Garey compares KVN traditions in two post-Soviet nation states at war. A series of interconnected, cross-border stories spanning 60 years illustrates how laughter and oppression entwined in the long cultural context of the war in Ukraine.

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