Vladimir Sabourin
St. Cyril and St. Methodius University of Veliko Turnovo
https://doi.org/10.53656/phil2024-04-07
Abstract. During the late Soviet era, science fiction was one of the first zones of its ideological cosmos, registering the exhaustion of the communist utopia precisely within the literary genre aimed at its representation. In this article I consider the history of the “editing to death” of the Strugatsky brothers’ short
novel Roadside Picnic as a representative case of the anti-utopian “uneasiness in civilization” of late actually existing socialism. Simultaneously with the censorship taming of the uneasiness, the Strugatsky’s science fiction dystopia underwent a radical interpretation in Andrei Tarkovsky’s film adaptation Stalker as a Hegelian “good music with text”. In comparison to the censored edition, which is barely a timid emendation, ultimately yearning modestly for a good life during the most consumeristic and moderately repressive years of Soviet power, Tarkovsky’s aesthetically singular re-reading is truly a “Zone” of editing to death.
Keywords: late Soviet era; science fiction; censorship; re-reading; Strugatsky brothers’; Hegel; Andrei Tarkovsky
