Filed Under: Topic > Russia > Soviet Homosexuals: Yesterday, Today, Tomorrow

Soviet Homosexuals: Yesterday, Today, Tomorrow

An Image
An Image
An Image
An Image
[4 items]
Gay, Slavs!, whose punning title invokes the nineteenth-century Pan-Slavic anthem “Hey, Slavs!”, was an early 1990s magazine with a mandate to represent gay identity as possessing rich and distinctive intellectual and artistic dimensions. Like 1/10 and its literary supplement, 9/10, along with Risk and Tema, this publication distinguished itself from glossier titles that presented 1990s-era gay life in Russia in a purely hedonistic way. Like many gay men in the USSR, the author of this essay, Gennady Trifonov, had been brutally punished for his sexuality in the Soviet penal system. In the wake of Soviet collapse, he and other victims of Soviet homophobia began capitalizing on the cultural prestige of Soviet-era political dissidence by styling themselves “sexual dissidents.” This identity presupposed that gayness was a difference not only of sexuality, but of cognition and perception, an exceptional way of being with valuable intellectual and aesthetic attributes. 
 
In this 1991 essay, published in 1993, Trifonov presents a vision of a pre-Soviet Russia that was an organic part of Western culture, from which it was artificially isolated by the Soviet experiment. In this view, the mid-twentieth-century antidemocratic regimes of Nazism, European fascism, and Soviet Communism are aberrations in the history of Western culture. After decades of violent oppression at the hands of the Soviet state, Trifonov envisions a return to a cultural model in which gay men play a distinct yet integral role, part of an august Western canon populated by the likes of Socrates, DaVinci, Michelangelo, Oscar Wilde, Marcel Proust, André Gide, Thomas Mann, and Pier Paolo Pasolini. Unmentioned in this idealized view of Western culture and its putative inclusiveness of gay elements are many moments of violent intolerance.
 
Trifonov’s essay expresses disappointment and pessimism vis-à-vis a post-Soviet culture he thinks is failing to materialize. In 1977, while still incarcerated, Trifonov had tried to correct a Soviet public record that completely omitted the gay experience, sending an open letter to the editors of the newspaper Literary Gazette (Literaturnaia gazeta) that described the horrific abuses and gruesome ends gay prisoners suffered in late-Soviet prisons and camps. Literaturnaia gazeta did not publish the letter. Writing many years later in Gay, Slavs!, an openly published and circulated gay periodical, Trifonov expresses disappointment at the encounter of contemporary Western culture with a Western-influenced, post-Soviet Russian gay culture. He describes post-Soviet gay culture as dominated by a frivolous sensuality. Devoid of intellectual or aesthetic depth, this culture, for Trifonov, merely emulates the hedonistic zeitgeist of the post-Stonewall West. 

After the imposed silence of the Soviet era, Trifonov seems to feel remarginalized in a new media landscape characterized by broad discursive silence on sexual difference. He attributes this silence to the self-censorship of a vast LGBTQIA population unaccustomed to publicly expressing sexual difference and, on the other hand, comfortable with isolating their queer experience from more conventional social faces and public self-presentations. The most visible exception to this rule, Trifonov points out, is a demonstrative enjoyment of a gay sensuality unencumbered either by legacies of suffering and oppression, or by serious intellectual or cultural ambition. The essay is suffused with anxious pessimism, a sense that efforts to cultivate a gay discourse and aesthetics worthy of Western-style canonization, or equal to the Soviet legacy of gay suffering—efforts represented in publications like Gay, Slavs!, 1/10, and Risk— will remain on the fringes of the new post-Soviet public sphere.