Burelom (The Windfall): Weekly Literary-Satirical Journal, 1905. No. 1. In Russian.

Бурелом. Еженедельный литературно-сатирический журнал. № 1. Воскресенье, 27 ноября.
Санкт-Петербург, 1905.
8 с. : ил. Издательская иллюстрированная обложка, формат 27,5 × 33,5 см. Редактор-издатель и художник Г. П. Эрастов.
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Burelom (The Windfall). Weekly Literary-Satirical Journal. No. 1. Sunday, 27 November.
Saint Petersburg, 1905.
8 pp. : ill. Original publisher’s illustrated cover, 27.5 × 33.5 cm. Editor-publisher and artist: G. P. Erastov.

This inaugural issue of "Burelom" (The Windfall), dated November 27, 1905, is a quintessential artifact of the "Satirical Spring" that briefly bloomed in the Russian Empire. Published in the wake of the October Manifesto, it represents the work of Georgy Erastov (Heinrich Edelman), one of the most defiant editors of the era. Erastov did not just manage the publication; he was its artistic heartbeat, often contributing the very caricatures that led to the journal's eventual suppression.
The title "Burelom" refers to trees uprooted by a storm—a transparent metaphor for the revolutionary upheaval intended to topple the "old growth" of the Tsarist autocracy. This first issue features a potent mix of literary satire and biting graphics from a collective of radical writers including V. Mazurkevich and R. Antropov. The journal was famous for its aggressive stance against the government’s attempts to regain control through "reactionary" policies, using humor as a weapon of mass mobilization.
The publication’s history is a testament to the cat-and-mouse game between editors and the Imperial police. After only five issues, "Burelom" was forcibly shuttered and its stock confiscated. Undeterred, Erastov immediately launched "Burya" (The Storm) as a direct successor. This first issue is particularly rare due to these frequent police raids and the fragile nature of the newsprint used during the revolutionary chaos.
For bibliophiles and historians, "Burelom" No. 1 is more than a magazine; it is a primary document of the birth of Russian political art. It captures the raw, unfiltered voice of the St. Petersburg intelligentsia at a moment when they believed the absolute power of the Romanovs was finally being uprooted.