For the past three decades, Mikhail Bakhtin has been more of an industry than an individual. Not only an industry, in fact, but a flourishing transnational corporation, complete with jet-setting chief executives, global conventions and its own in-house journal. In the field of cultural theory, this victim of Stalinism is now big business. Most of the mouth-filling terms he coined – dialogism, double-voicedness, chronotope, heteroglossia, multi-accentuality – have passed into the lexicon of contemporary criticism. A cosmopolitan coterie of scholars, some of whom have devoted a lifetime to his texts, have long since struggled to appropriate him for their own agendas. Is he a Marxist, neo-Kantian, religious humanist, discourse theorist, literary critic, cultural sociologist, ethical thinker, philosophical anthropologist, or all these things together?