The Soviet Union fought against the followers of a convicted terrorist and Nazi German collaborator Stepan Bandera in western Ukraine—first during World War II and then as an insurgency. As a result, many were tried and incarcerated in Kazakhstan, the Arctic Circle, and the Urals. Yet in 1955, Soviet leader Nikita Khrushchev pardoned and released Banderites in the tens of thousands. Why did this mass-scale amnesty happen, and what long-term consequences did it have?
This question is especially perplexing considering who Stepan Bandera was—a fascist leader of the terrorist OUN, Organization of Ukrainian Nationalists (faction B named after Bandera), established in 1929. During World War II, the organization collaborated with Nazi Germany since the area was under their occupation as Reichskommissariat Ukraine from mid-1941 to late 1944.
In 2014, Kiev banned the Russian-made mini-series The White Guard (2012) based on Mikhail Bulgakov’s 1925 novel for “demonstrating disregard for the Ukrainian language, people, and statehood.” This ban turned out to be one of many after the Maidan that year in an attempt to root out the Russian language and culture in the region long before the 2022 military escalation. Yet what do Mikhail Bulgakov and The White Guard, specifically, have to do with the present conflict in Ukraine?
Mikhail Bulgakov, the Russian author best known for The Master and Margarita, was born in Kiev in 1891. His literary genius makes him one of the most famous historical figures from that city. Yet in 2022, there were even calls to close the Kiev Bulgakov museum.
This interview initially appeared in Komsomolskaya Pravda on December 7, 2022. It was entitled, “A Pilot of the Russian Aerospace Forces: ‘We decided not to give up. The navigator took the grenade, and I pulled the ring out of it.'”
The Story of a Real Man by Boris Polevoy (1946) referenced below is about Soviet fighter ace Alexey Maresyev (1916-2001). During World War II, Maresyev’s plane was shot down but he managed to return to the Soviet side. He was injured so severely that both of his legs had to be amputated above the knee due to gangrene. Not only was Maresyev able to recover but he returned to flying a year later, in 1943, despite his disability. In total, he is credited with 80 combat sorties. Maresyev earned Hero of the Soviet Union. In 1947-48, renowned composer Sergei Prokofiev turned Marasyev’s experience into an opera.
In the original Russian title, “man” refers to a “person” (chelovek), but the standard English translation is “man.”
Pilot Pyotr Kashtanov, awarded Hero of Russia, defeated the enemy and escaped being captured. Kashtanov successfully carried out his combat mission and destroyed enemy equipment. However, the crew was hit and catapulted into enemy territory. The “nationalists” were close by, while his comrade was unconscious…
On the eve of Heroes of the Fatherland Day [December 9], Komsomolskaya Pravda journalists met with an officer whose airplane was shot down over enemy territory. Yet he completed his combat mission and, despite being wounded, led the crew to rejoin the Russian troops.
Not very tall, humble, and seemingly very young, the senior lieutenant tries to be sociable and relaxed.
– Pyotr, he extends his right hand.
Based on his weak handshake, as if it were unnaturally constrained, we understand that the pilot has not yet fully recovered. In September, his Su-34 fighter bomber was shot down over enemy territory, while on a combat mission in the Special Operation zone [during the international conflict taking place in Ukraine]. The situation was hopeless. He had a broken arm, while the navigator had a compression fracture of the spine. There were enemies all around. Yet by some miracle, both managed to get out and reached their own comrades.
And now, sitting in front of us, as if descended from the pages of Boris Polevoy’s The Story of a Real Man, is Pyotr Kashtanov, a Russian officer. The star of the Hero of Russia sparkles on the chest of this 31-year-old…
Bear-hounding is a hunting technique, in which a pack of dogs pursues a bear until exhaustion—at that point the hunter can make his kill. And that is to what Karen Shakhnazarov, a well-known Russian filmmaker of Armenian origin, compared Russia’s predicament in the current geopolitical situation.
As the Tariff-War Must End, Udo Keppler, Puck, U.S., 1901. Source: LOC.
The bear analogy in Russia’s case is a contrived and, often, derogatory image describing the barbaric Other outside the West. It has deep historic roots, as literary and artistic examples indicate. But it is also one that works metaphorically. As a large continental power spanning Eurasia including some of the coldest places on earth—one with nuclear capabilities—Russia is not unlike the bear. In fact, many Russians themselves have reappropriated this comparison.
Even President Vladimir Putin has used it on a number of occasions.
The trope of ‘Russian state propaganda’ in mainstream Western media is a persistent one, especially as of late. This continued focus expresses one’s own loss of control as older cable-news models are in decline, the media landscape becomes more diverse, and various web platforms allow younger savvy users to locate alternative information sources. This kind of repetitive finger-pointing is also simultaneously meant to delegitimize Russia’s foreign-language broadcasting and to explain the support for Putin domestically.
The notion in question relies on a number of related assumptions:
that Western countries do not have state media;
that corporate media is impartial;
that state media cannot feature opposing points of view and is thus inferior to its corporate counterpart;
that media consumers, the general and even the educated public, are incapable of critically analyzing the information they receive.
Much like his caustic historic text on SS Galicia, Ukrainian author Oles Buzina was not very fond of Stepan Bandera—another one of official Kiev’s current ‘heroes’. This following prophetic text, written in 2011, also demonstrates why Buzina became a political dissident in his own home and possible reasons for his assassination in the spring of 2015.
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STORIES FROM OLES BUZINA: UNHEROIC “BANDERA” (2011)
(“Stories from Oles Buzina” was a regular column for Segodnya newspaper, covering historic subjects. In the Russian language, “story” and “history” (istoriia) are the same word, which plays an important role in this context.)
Demoted! On January 12th, 2011, the website of the president of Ukraine reported that Stepan Bandera lost his official title of Hero.
Translated by Nina Kouprianova
The views of the original author do not necessarily reflect those of the translator.
It is not by accident that I wrote the word “bandera” in the feminine and in lower-case letters, despite the fact that this article will discuss that very same Bandera, who was a man and whose proper name, according to grammar, naturally began with a title-case letter.
With the onset of the Ukrainian crisis, I realized that I often looked forward to the work of certain journalists, who were both eloquent and informative. Oles Buzina was one of them. In addition to reading his columns, I, like millions of other Russians, watched his frequent appearances on political talk shows. I often found myself in disagreement, but had to admit that his points were well-argued and factually justified—a true sign of a charismatic erudite.
Thus, the news of his brazen murder on April 16 of this year, in broad daylight and outside his home, was particularly distressing. Later, I found out that Oles—a well-known author and historian, in addition to his journalistic career—had been receiving threats for quite some time. Yet he consistently turned down offers to relocate to Russia. Like a true patriot of a country in peril, he continued to love Ukraine. But Ukraine—today’s Ukraine—did not return that sentiment.
Alexander Solzhenitsyn is one of the best-known Soviet dissidents, so much so that he earned the Nobel Prize in Literature in 1970. His Gulag Archipelago, written in the 1950s-60s, and One Day in the Life of Ivan Denisovich from 1962—both about the Stalin-era labor-camp system—are his most famous works outside of Russia. Yet after the collapse of the USSR, it became increasingly clear that much of his foreign support was not inspired by the Western ideal of ‘human rights’ or concern for average Russians, but served as a tool of geopolitics instead.
His statements about resurgent Russia, particularly in the last years before his death in 2008–well into the era of Putin’s leadership–did not suit those that would rather have the country in the permanently weak state of ‘freedom’ and ‘democracy’ of the 1990s, so that its resources could continue being plundered by domestic oligarchs and foreigners alike, while its culture–transformed into the soft authoritarianism of neo-Liberal Postmodernity. In contrast, one of the most attractive aspects of Putin’s Russia for Solzhenitsyn was the revival that Orthodox Christianity continues to experience.
“There are no separate Russia or Ukraine, but one Holy Rus” – Elder Iona of Odessa
The year 2014 saw an unprecedented surge of patriotism in contemporary Russia, which resulted in popularizing the notion of the Russian World. One reason for the increased patriotic sentiment was Crimea’s return to the home port after the overwhelmingly positive vote by its majority-Russian residents in a referendum one year ago. The onset of the liberation war in Donbass from the West-backed Kiev regime was the other. This war truly delineated the stakes for the existence of the Russian World. The latter is not an ethnic, but a civilizational concept that encompasses shared culture, history, and language in the Eurasian space within a traditionalist framework. To a certain extent and despite the obvious ideological differences, the Russian Empire and the USSR embodied the same geopolitical entity. A particularly noteworthy aspect of the ongoing crisis in Donbass is the symbolism—religious and historic—that surpasses the commonly used, but outdated Left-Right political spectrum. In the Russian context, this also means overcoming the Red-White divide of the Communist Revolution. That this war pushed Russians to examine their country’s raison d’être is somewhat remarkable: for two decades its citizens did not have an official ideology, prohibited by the Constitution that is based on Western models. The emergence of a new way of thinking in Russia will become clearer once we refer to the meaning of religious insignia, wars—Russian Civil and Great Patriotic, as well as the question of ideology in the Postmodern world.