Friedberg_Nila-2021

of the exercises from the dual standpoint of literary scholarship and language pedagogy was invaluable. Thanks also to my supportive colleagues Daria Aleeva, Anna Alsufieva, William Comer, Cassio de Oliveira, Martha Hickey, Galina Kogan, and Sergei Sychov for their useful feedback on the exercises, and to Ross, Callum, and Crumpet Weinstein for helping me understand the language of animals so crucial for interpreting Bulgakov’s “Heart of a Dog.” I am grateful to Cassio de Oliveira, Polina Barskova, and Evgeny Bershtein for help with selecting 1920s texts; to Larisa Naiditch, Olessya Kisselev, Asya Pereltsvaig, and the staff of www.gramota.ru for referring me to the relevant linguistic concepts and literature; to Carol Appolonio for her “Google image for language teaching” idea; and to the audiences at ASEEES 2018, AATSEEL 2019, and the 2019 Russian Summit for Dual Language Immersion Teachers at Portland State University in summer 2019. I amgrateful toVera Zoshchenko for permission to include the text of M. Zoshchenko’s “Bania”; to Vladimir Kozyrev of Media Expert and the heirs of Isaak Babel for permission to include Babel’s stories“Korol’”and“Moi pervyi gus’”; to Sergei Shilovsky for permission to publish the abridged text of Bulgakov’s “Sobach’e serdtse”; to Dmitry Tsvetkov of Agentstvo FTM, Ltd. and the heirs of Andrei Platonov for permission to include Platonov’s “Tretii syn”; to Ilya Krichevsky for permission to include two chapters of Il’f and Petrov’s Dvenadtsat’ stul’ev ; to Dov-Ber Kerler for permission to reproduce a photograph from his personal archives, and to Michael Gorham for permission to reproduce an abridged excerpt from an article of his. Many thanks to all the students enrolled in the “Russian Literature of the 1920s” class in 2013, 2016, and 2019, whose responses to the exercises were instrumental in shaping this book: Liza Dunn, Todd Long, Alexei Melnik, Ashley Moe, Frankie Smith, Colton Hennick, Elizabeth Johnson, Kristi Lew, Roger Murry, Sebastian Richardson, David Shiryayev, Artur Sibgatullin, Phillip Turoff-Ortmeyer, Hannah Verbruggen, Asya Volkova, Jamie Cardenas, Ryan Donovan, Robert Jaffe, Robert Kao, Kristina Lockhart, Floyd Palmer, and Katie Ryder. I would also like to thank the PDXOpen publishing initiative for its support; Karen Bjork for her patience and guidance; Avram Brown and Penelope Burt for editorial assistance with English; and Sarah Beasley and Susan Bristow-Ford for their help with copyright matters. I am grateful to CyrusWraithWalker and Ilana Henley-Perstein for designing the book cover; to Irina Kuzmina, for spending countless hours on book design and finding just the right images to convey the period; to Sasha Razor, for brainstorming the cover design;