Generally speaking, use of blat implied a reciprocal obligation in the future, but it could involve a gift of a bottle of vodka or small bribe. Blat usually functioned between friends or relations; one hesitated to deal with complete strangers because these transactions were illegal and penalties could be severe. With taut planning, when goods and apartments were always short, a popular folk saying was “Blat is higher than Stalin!” Such informal arrangements were vital to offset the many gaps of Soviet planning and to allow managers to fulfill their plans and citizens to survive and live with some comfort. In many cases, then, blat may be said to have been functional for the totalitarian order, even if somewhat illicit. On the other hand, it also detracted from the competitive advantage the system’s directors wished to give to important production, which was subject to stringent control. See also: BLACK MARKET
BIBLIOGRAPHY
Berliner, Joseph. (1957). Factory and Manager in the USSR. Cambridge, MA: Harvard University Press.
The use of personal influence to obtain something of value.
(1836-1902), Jewish-Polish born industrialist, banker, railroad magnate, and adviser to the Russian Ministry of Finance; author of Future War in Its Technical, Economic, and Political Relations (1898).
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Jan Bloch, also known as Jean de Bloch and Ivan Stanislavovich Bliokh, was born in Radom, in the kingdom of Poland, to Jewish parents. He converted to Calvinism in the 1850s and to Catholicism upon his marriage into a prominent banking family of Warsaw. Bloch made his fortune in the railway boom of the 1860s, when he funded the construction of rail lines in southwest Russia. He was a strong advocate of liberal reform.
Bloch addressed the technical, economic, and political aspects of modern, industrial war. He combined a detailed analysis of military technology and the changes it was bringing to the battlefield with a strategic- operational assessment of the role of railroads, and concluded that defense would dominate the offense, making impossible a single, decisive battle. Maneuver would give way to firepower and positional warfare. Indecision, when coupled with the capacity of modern economies to generate war materials for the front, would turn a general European war into a protracted and bloody conflict. Modern war in this form would lead to social crisis and revolution. Bloch concluded that a general European war would be so destructive that statesmen would be prudent enough to avoid unleashing one.
Bloch’s pacifism was not utopian, but rather was founded upon pragmatism and pessimism. Behind Bloch’s analysis of future war stood several decades of sustained study of railroads and their impact on the national economy, national finances, and the study of the so-called Jewish question and modern anti-Semitism. Moreover, his research work rested upon a methodology that was distinctly modern and interdisciplinary, involving the collective research of specialists in a research institute. Bloch’s practical influence on the government of Nicholas II was limited and short-lived, culminating in a call for a European disarmament conference. Bloch opposed any military adventure in the Far East. He died in 1902, before the Russo-Japanese War provided a warning of political and military things to come. See also: MILITARY, IMPERIAL ERA; RAILWAYS
BIBLIOGRAPHY
Bloch, Jan. (1991). Is War Now Impossible? Being an Abridgement of the War of the Future in Its Technical, Economic, and Political Relations. London: Gregg Revivals. Kipp, Jacob W. (1996). “Soldiers and Civilians Confronting Future War: Lev Tolstoy, Jan Bloch, and Their Russian Military Critics.” In Tooling for War: Military Transformation in the Industrial Age, ed. Stephen D. Chiabotti. Chicago: Imprint Publications.
(1880-1921), poet, playwright, essayist.
Alexander Blok, one of Russia’s greatest poets and a key figure in the Symbolist movement, was born in St. Petersburg in 1880, into an aristocratic family of German and Russian descent. His father was a professor of law at the University of Warsaw and a talented musician; his mother, a poet and translator. Blok’s parents separated shortly after his birth; he spent his childhood with his maternal grandfather, botanist Andrei Beketov, until his mother obtained legal divorce in 1889, remarried, and brought Blok with her into her new apartment. Blok wrote verse from his early childhood on, but his serious poetry began around age eighteen. He studied law without success at the University of Petersburg, transferred to the Historical-Philosophical Division, and received his degree in 1906.
As a young writer, Blok made the acquaintance of Symbolist poets, including Vladimir Soloviev and Andrei Bely. His first poetry collection Stikhi o prekrasnoy dame (Verses on a beautiful lady) was published in 1904. Inspired by a mystical experience and his relationship with Lyubov Men-deleyeva, daughter of the famous chemist, whom he married in 1903, the poems, resonant with Romantic influence, depict a woman both earthly and divine, praised and summoned by the poet. Despite the sublime character of these poems, there are early signs of rupture and disturbance; the supplicatory tone itself borders on despair.
Blok followed his first collection with the lyric drama Balaganchik (The fair show booth), staged in 1906, and his second poetry collection, Nechayannaya radost (Inadvertent joy, 1907). These propelled him to fame. From there he continued to write prolifically, developing a distinctly tumultuous and sonorous style and influencing his contemporaries profoundly. His unfinished verse epic Vozmezdie (Retribution, 1910-1921), occasioned by the death of his father, chronicles his family history as an allegory of Russia’s eventual spiritual resurrection; the cycle Na pole Kulikovom (On the field of kulikovo, 1908), celebrates Russia’s victory
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in 1380 over the Mongol Tatars. Yet, despite the spiritual optimism of both works, their lyrical heights coincide with expressions of despair.
Blok supported the 1917 Revolution, perceiving it as a spiritual event, a step toward a transformed Christian world. Yet his twelve-part poem Dvenadtsat (The twelve, 1918) suggests deep ambivalence. Among the most complex and controversial of Blok’s works, it mixes voices and idioms (slogans, war cries, laments, wry remarks) without resolving the discord. The shifts of rhythm and diction, the mimicry of sounds, and the punctuation of the verse with diverse exclamations overwhelm the Christian motif.
Blok’s disillusionment with the Soviet bureaucracy and censorship is suggested in his fierce and eloquent essay “On the Poet’s Calling” (1921), at one level a short treatise on Alexander Pushkin, at another level, a discussion of the conflict between the poet (“son of harmony”) and the “mob” (chern). The poet’s calling, according to Blok, is to create form (cosmos) out of raw sound (chaos); this goal is opposed by the mob-the officials and bureaucrats, those committed to everyday vanities.
Blok died in 1921 from a mysterious (possibly venereal) disease, in a state of malnutrition, despair, heavy drinking, and mental illness. His work continued to be published in the Soviet Union after his death, with a marked discrepancy between official and unofficial interpretations. See also: PUSHKIN, ALEXANDER SERGEYEVICH; SILVER AGE
BIBLIOGRAPHY
Berberova, Nina. (1996). Aleksandr Blok: A Life, tr. Robyn Marsack. New York: George Braziller. Blok, Alexander. (1974). Selected Poems [of] Alexander Blok, tr. John Stallworthy and Peter France. Ham-mondsworth, UK: Penguin. Chukovsky, Kornei. (1982). Alexander Blok as Man and Poet, tr. and ed. Diana Burgin and Katherine O’Connor. Ann Arbor, MI: Ardis.
On January 22, 1905, a peaceful demonstration of workers in St. Petersburg was dispersed by troops with considerable loss of life. The event triggered the 1905 Revolution. The demonstration was organized by the
