gests that at least some women writers treated socially prescribed modesty as
a literary convention (Romanticism and Gender, 8 ). Some, however, took the in-
junction against women’s writing much more seriously, as I argue in chapter 1.
27 .On Khvoshchinskaia’s “modesty,” see, for example, Bykov, Siluety
dalekogo proshlogo, 184. Praskov’ia Khvoshchinskaia wrote that her sister op-
posed all posmertnaia glasnost’(posthumous publicity, xiii) and claims to have
written a biographical essay about her (which appeared anonymously as the in-
troduction to an edition of Khvoshchinskaia’s collected works) only to defend
the reputation of her family.
28 .For various commentaries on Dickinson’s rejection of fame in this poem,
see Joseph Duchac, The Poems of Emily Dickinson: An Annotated Guide to Com-
mentary Published in English 1890–1977(Boston: G. K. Hall, 1979 ), 277–79, and
Ostriker, Stealing the Language,40–41.
29 .Tsebrikova writes of Khvoshchinskaia’s refusal to allow obituaries of
Sof’ia (“Ocherk zhizni,” 12 ). On Khvoshchinskaia’s anger at Zotov, see Bykov,
Siluety dalekogo proshlogo, 185 , 186. Tsibrikova discusses Khvoshchinskaia’s use
of male pseudonyms for her literary criticism in order not be identified (“Ocherk
zhizni,” 28–29).
30 .Charlotte Rosenthal and Mary Zirin write that while Russian women felt
free to publish under their own names during the Golden Age, when lyrical po-
etry, a “feminine” genre, dominated, “during the period of Russian realism
(roughly 1850 to 1880 ) women... increasingly resorted to masculine or neuter-
gendered pseudonyms in order to get a fair hearing for their portrayals of con-
temporary society” (“Russia,” 111 ).
31 .Mogilianskii, “N. D. i S. D. Khvoshchinskaia,” 234. Also mentioned in
A. Chechneva, “Soratnitsa velikikh: Nadezhda Dmitrievna Khvoshchinskaia,”
in Gordost’ zemli Riazanskoi(Moskva: Moskovskii Rabochii, 1973 ), 238. My thanks
to Romy Taylor for bringing the poem to my attention. It is also possible that even
earlier poems by Khvoshchinskaia appeared in Illustratsiia,as she sent at least
one poem to this journal under the pseudonym Dans L’espace according to her
sister, Praskov’ia (“Nadezhda Khvoshchinskaia,” 8 ). Thanks to Karen Rosneck
for this suggestion.
32 .Rosenthal, Ledkovsky, and Zirin, eds., Dictionary of Russian Women Writ-
ers, 287 ; Russkie pisateli,1800–1917: Biograficheskii slovar’(Moskva: Izd-vo “Sovet-
skaia Entsiklopediia,” 1989–), 3 : 355.
33 .On the Petrashevskii circle and its “satellite groups,” see Joseph Frank,
Dostoevsky: The Seeds of Revolt, 1821–1849(Princeton, N.J.: Princeton University
Press, 1976 ), 273 , 241–91.
34 .A.G. Dement’eva, A. V. Zapadov, and M. S. Cherepakhov, eds., Russkaia
periodicheskaia pechat’ 1702–1894: Spravochnik(Moskva: Gosudarstvennoe izd-vo
politicheskoi literatury, 1959 ), 362.
35 .Semevskii, “N. D. Khvoshchinskaia-Zaionchkovskaia,” 10 : 54 , and Tse-
brikova, “Ocherk zhizni,” 7 , state that Khvoshchinskaia was not paid for her
poetry.
In 1890 , a year after Khvoshchinskaia’s death, Zotov wrote: “I have more than
120 poems by N. D., written by her in the course of the first twelve years of her
266 Notes to Pages 119– 122