Thus, the employment of the poetics of myth synthesized with twentieth century modem thought was an attempt to express the stability of their national models as well as to universalize human experience. (A big push in this direction was given by the publication ofM. Bulgakov's novel TheMasterandMargarita in 1967 and Marquez's One Hundred Years of Solitude) In the European parts of the USSR intellectuals were turning to Christian and European myths, those of their own regions and, at times, even turning eastwards. Myths are being used for delving into such diverse problems as the man-nature relationship, rampant consumerism and the alienation arising from industrialization and a search for spiritual values. Myths and allegories also serve the purpose of getting past the censors. Intellectuals who are extremely diverse both in ideas and approach, have either consciously or unconsciously turned to myths in their works. Cyclical time or the complex mythical dynamism in the interplay of life and death, space and time, myths and their demythologizing, good and evil, are in evidence in the works of the science fiction writers, the brothers Strugatsky, in the Uzbek writer Timur Pulatov, the Siberian writers V. Rasputin and Shukshin, in the films of Tarkovsky orAbuladze, the dramatists Shtein or Radzinsky. All are united by a single aim—to tackle the problems of today rather than seek Rousseauistic means of escape. The critic Viktor Shklovsky has commented, 'Let us not forget that the ends of the ladder leading to the future rest on the past.' The year 1986 has been a momentous one. Two congresses—that of the Union of Cinematographers followed by that of the Writers—were characterized by a rare degree of outspokenness, unheard of in the recent past. Bureaucracy, red-tape, malfunctioning, power cliques, mediocrity in the arts— all came under heavy attack. This frank talk has continued in the pages of newspapers and journals. Questions pertaining to the functioning and decision making procedures in theatres and their repertoires are being discussed. Some concrete steps are also being attempted. Having leamt from past experience it has been realized that solutions cannot be found by merely letting a few heads roll. The Cinematographers' Union is in the process of reconstituting its entire organizational structure. The 'taboo' subjects of yesterday are being actively discussed. Victor Rozov, the dramatist has said : 'So much criticism is being voiced today. I never dreamt that I'd live to see such a day. I've been reading the newspapers and watching plays. Everywhere—criticism, with none of the Aeso-pean language—all frontal attacks, no hiding behind a fig leaf. And what beautiful words—the truth and nothing but the truth. Do these words herald the beginning of yet another tidal wave in culture, another thaw ? Only time can tell. As with much else we wait for the West to enlighten us about Soviet intellectuals. The literary critic Bakhtin comes belatedly and out of context to us. Large gaps in our information continue. Few are familiar with the works of such great Journal of Arts & Ideas ^