Contemporaries and latter-day critics of Constantine Leontiev have tended to respond to him in one of two ways. The first and by far the more common approach has focused on his reactionary political views, homosexuality, and quirks of personal life; the second, on his talent as a writer. The eccentric psychopolitical image of Leontiev created in the first instance has injected a paradoxical note of disharmony into the appreciation of a seemingly inverse grace and form in his fiction. The man has come to represent one thing, his literary work something quite different and unrelated. Although critics like Vasilii Rozanov, Nicholas Berdiaev, and Father Georges Florovsky have hinted at the ideological factors which suggest possible ways of resolving this paradox, no real organic interpretation explaining Leontiev’s fiction in terms of his own cultural situation, his ideas, beliefs, and ideological problems is available.