and Revolution in the Early USSR, 186; Karimov, Cho’lpon: Ma’rifiy roman, 275. Dilmurod Quronov asserts that Cho’lpon only left Uzbekistan for the drama studio in 1925. Quronov, Cho’lpon hayoti va ijodiy merosi, 22.
35 Naim Karimov notes that other Uzbek litterateurs in Moscow met with these Russian poets, so it is not out of the question that Cho’lpon did as well. Karimov, Cho’lpon: Ma’rifiy roman, 287–288.
36 Quronov, Cho’lpon hayoti va ijodiy merosi, 23.
37 Karimov, Cho’lpon: Ma’rifiy roman, 235.
38 Ibid., 313. Naim Karimov suggests that all but “Hujum” have been lost, but “Zamona xotini” was found and reprinted in 1992. See Abdulhamid Cho’lpon, “Zamona xotini,” Sharq yulduzi 10 (1992): 6–58.
39 For more on the national delimitation, see Arne Haugen, The Establishment of National Republics in Soviet Central Asia (New York: Palgrave Macmillan, 2003); Francine Hirsch, Empire of Nations: Ethnographic Knowledge and the Making of the Soviet Union (Ithaca: Cornell University Press, 2005), 145–186; Khalid, Making Uzbekistan: Nation, Empire, and Revolution in the Early USSR, 257–315.
40 Khalid, Making Uzbekistan: Nation, Empire, and Revolution in the Early USSR, 273–274.
41 Ibid., 316–341.
42 Karimov, Abdulhamid Sulaymon o’g’li Cho’lpon, 27.
43 Quronov, Cho’lpon hayoti va ijodiy merosi, 25.
44 Sheila Fitzpatrick, ed., Cultural Revolution in Russia: 1928–1931 (Bloomington: Indiana University Press, 1978); Sheila Fitzpatrick, The Cultural Front: Power and Culture in Revolutionary Russia (Ithaca, London: University of Cornell Press, 1992), 1–15; Regine Robin, Socialist Realism: An Impossible Aesthetic, ed. Catherine Porter (Stanford: Stanford University Press, 1992), 5.
45 The “great retreat” was coined by Nicholas Timasheff. See The Great Retreat: The Growth and Retreat of Communism in Russia (New York: E. P. Dutton & Co, 1946). The term has been criticized recently by a new generation of scholars who have focused on the period as a consolidation of socialist gains. Timasheff’s “great retreat” assumed that the Stalinist Soviet Union, by returning to bourgeois cultural values, would also soon become a market economy, which clearly did not happen. See Stephen Kotkin, Magnetic Mountain: Stalinism as Civilization (Berkeley: University of California Press, 1995), 357; Terry Martin, The Affirmative Action Empire: Nations and Nationalism in the Soviet Union, 1923–1939 (Ithaca: Cornell University Press, 2001), 414–415.
46 See Fitzpatrick, The Cultural Front: Power and Culture in Revolutionary Russia, 8–9; Robin, Socialist Realism: An Impossible Aesthetic, 4–8.
47 Karimov, Abdulhamid Sulaymon o’g’li Cho’lpon, 29.
48 Abdulhamid Cho’lpon, “O’n yil Leninsiz,” O’zbekiston sovet adabiyoti 6 (1934): 61.
49 O’zbekiston respublikasi Markaziy davlat arxivi (O’zRMDA) f. 2356 o. 1 d. 9 l. 1–2.
50 See Khalid, Making Uzbekistan: Nation, Empire, and Revolution in the Early USSR.
51 Marianne Kamp and Russell Zanca, “Recollections of Collectivization in Uzbekistan: Stalinism and Local Activism,” Central Asian Survey 36, no. 1 (2017): 55–72.
52 Khalid, Making Uzbekistan: Nation, Empire, and Revolution in the Early USSR, 339.
53 William Fierman, Language Planning and National Development: The Uzbek Experience (Berlin: De Gruyter, 1991), 165–192.
54 Mutavakkil Burhonov, “Nurli siymolar,” in Fitna san’ati, vol. 2 (Toshkent: Fan, 1993), 196–208.
55 The transcript of Cho’lpon’s speech before the Writers’ Union can be found in Republic of Uzbekistan Central State Archive. O’zRMDA f. 2356 o. 1 d. 29. Reprinted in Abdulhamid Cho’lpon, “Nutq,” in Fitnai san’at, ed. Mahmud Yahyo and Erkin Siddiq, 2 vols., (Toshkent: Fan, 1993), 2:187–195.
56 Karimov, Abdulhamid Sulaymon o’g’li Cho’lpon, 32.
57 Khalid, Making Uzbekistan: Nation, Empire, and Revolution in the Early USSR, 143–147.
58 Naim Karimov, “Cho’lpon uchun kishan,” in Adabiyot va tarixiy jarayon (Toshkent: Mumtoz so’z, 2013), 355–363.
59 Ibid., 362.
60 Karimov, Abdulhamid Sulaymon o’g’li Cho’lpon, 33.
61 An anthology of Uzbek poets, Tirik satrlar (Living Lines), containing a set of Cho’lpon’s poems was published in 1968, but as soon as Uzbek critics discovered Cho’lpon’s presence in it, they denounced it and the publisher discontinued the print run. See Ozod Sharafiddinov, “‘Tirik satr’larning qiyin qismati,” in Sardaftar sahifalari (Toshkent: Yozuvchi nashriyoti, 1994), 48–58.
62 Karimov, Cho’lpon: Ma’rifiy roman, 408.
63 While female Russian poets such as Anna Axmatova and Marina Tsvetaeva objected to the gendered designation of themselves as poetesses, this was never the case with female Uzbek poets, who self-identified with the gendered shoira (poetess).
64 O’zRMDA f. 2356 o. 1 d. 9 l. 15–17.
65 Ibid. l. 1.
66 Xotam Qirg’iz, “‘Kecha va kunduz’ haqida,” Yosh Leninchi, February 12, 1937. Shawn Lyons claims the novel received another review in 1936 that also praised the novel for revealing the “historical truth” of jadids’ collusion with the Russian imperial government. He quotes from a 1994 collection of articles which I have been unable to locate. See Lyons, “Resisting Colonialism in the Uzbek Historical Novel Kecha va Kunduz (Night and Day), 1936),” 190, 192; Salohiddin Mamajonov, “Cho’lponning nasriy va dramatik ijodi,” in Cho’lponning badiiy olami, ed. Naim Karimov (Toshkent: Fan, 1994), 80.
67 A. Sharifiy, O. Sharafiddinov, and F. Sultonov, “‘Kecha va kunduz’ haqida,” Qizil O’zbekiston, August 6, 1937.
68 Abdulhamid Cho’lpon, “Kecha va kunduz: Roman,” Sharq yulduzi 2 (1988): 64–148; Abdulhamid Cho’lpon, “Kecha va kunduz: Roman,” Sharq yulduzi 3 (1988): 79–142.
69 Abdulkhamid Chulpan, “Noch’ i den’: Roman,” trans. Abdulkhamid Ismoili, Zvezda vostoka 9 (1989): 8–57; Abdulkhamid Chulpan, “Noch’ i den’: Roman, okonchanie,” trans. Abdulkhamid Ismoili, Zvezda vostoka 10 (1989): 6–72.
70 There are two extant copies of the 1936 edition. One is held in the personal archive of Ozod Sharafiddinov (1929–2005), the Uzbek scholar who led the charge to republish Cho’lpon in the 1960s and later under glasnost in the 1980s. This is the text from which reproductions of the novel have been printed. The other is held in the literary museum in the author’s home town of Andijan. I have access to the latter copy, which, other than lacking pages 37 and 38, should be identical to the copy in the Ozod Sharafiddinov archive.
71 See Chulpan, I prozvuchi eshche, moi saz: Roman, drama, stikhi, ed. A. Sharafutdinov, trans. I. Shipovskii (Tashkent: Izdatel’stvo literatury i iskusstva imeni Gafura Guliama, 1991); ’Abd al-Hamid Sulayman Tchulpan, Nuit, trans. Stéphane Dudoignon (Saint-Pourçain-sur-Sioule: Bleu autour, 2009). Dudoignon was unaware that the novel was published during glasnost. Stéphane Dudoignon, “Postface,” in Nuit: Roman traduit de l’ouzbek par Stéphane A. Dudoignon (Saint-Pourçain-sur-Sioule: Bleu autour, 2009), 424–425.
72 Karimov, Abdulhamid Sulaymon o’g’li Cho’lpon, 77.
73 Dilmurod Quronov, Cho’lpon nasri poetikasi (Toshkent: Sharq, 2004), 271–272.
74 Halim Kara, “Resisting Narratives: Reading Abdulhamid Suleymon Cholpan from a Post-Colonial Perspective” (PhD diss., Indiana University, 2000), 185–186; Quronov, Cho’lpon nasri