Bertolt Brecht's contradictory relationship with the Soviet Union cannot simply be reduced to an initial fascination with the communist project and a later distancing from the reality of Stalinist rule. The contributions gathered here address, among other things, Brecht's phenomenon of "double talk," his silence regarding the arrest of friends and fellow artists, his statements in his work journal, and his late anti-Stalinist poems. They also discuss the brief flourishing of an exchange between representatives of the avant-garde in Germany and the Soviet Union.