Tevye the Dairyman

I find myself reading Sholem Aleichem's stories of Tevye the Dairyman, after finishing Petersburg (more on Petersburg later). I have a translation by Hillel Halkin, who also writes a lengthy forward describing the Jewish condition in Russia in the late 19th and early 20th centuries, the time in which these stories are set. Aleichem eventually immigrated to America, as many Eastern European Jews did during this time, escaping the harsh tsarist rule that had consigned them to the Pale of Settlement. Still, some Jews prospered as Aleichem noted in his amusing introductory chapter, as Tevye meets a wealthy family from Yehupetz (Kiev) in an odd and round about way.

The stories are filled with religious anecdotes as Tevye tries to come to terms with his lowly place in the world. These amusing reveries are passed along to Aleichem, who sets himself as the narrator of these stories. Halkin noted that Aleichem used a number of pen names, this being the one that stuck, which literally translates into "Hello, there." He grew up in the vicinity of Kiev, where a monument commemorates him on Rognedinskaya street. These stories were first published in the Warsaw yearbook Der Hoyzfraynt, constituting a vibrant part of Yiddish culture in Russia and Eastern Europe.

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Ward No. 6

Ward No. 6 is a short story written by Chekhov in 1892. It has appeared in various collections of Chekhov short stories, including The Horse-Stealers and Other Stories translated by Constance Garnett in 1921. In this story, Chekhov explores the inner working of a run-down lunatic asylum in a provincial town. He introduces the readers to a coarse porter who speaks mostly with his fists, various patients, a doctor who presides over this ward, and expresses his thoughts with a local postmaster. It was recently made into a movie , featuring Vladimir Ilyin. Here's a clip . There's also this very recent short film (30 min.) by Suzana Purkovic, with English subtitles.

Light and Dark

I'm still trying to sort out the ending. The story had to end tragically but was surprised that Rogozhin actually sought forgiveness in Myshkin after what he had done to Nastya, although I think that Dostoevsky intended the two to be read as one, along similar lines as The Double . He kept Rogozhin a shadowy figure throughout the novel, ever lurking in the dark of the Prince's soul. Try as he might, Prince Myshkin could not alter events and thus the fantasy world he had lived in upon returning to Russia crumbled before his eyes, leaving him at a total loss as how to reconcile himself with it. Once again, Dostoevsky plumbs great depths of the human soul. This is a psychological drama told in theatrical terms, perfectly suited for the stage. Characters appear and disappear as if moving from the shadows of the stage. I can see the "green bench" as the central stage piece. In the final part, one gets the sense that Lebedev is orchestrating events, and may even

The Morning of Our Motherland

I was watching a History channel special on Socialist Realism art of the Soviet Union and this was one of the grand canvases that is now stuffed away in the Tretyakov State Gallery . The painter was Fyodor Shurpin and he had a wonderful eye for detail, right down to the secret service black car on the road to Stalin's right. To the left, one sees a row of combines turning over the field of golden wheat, which became symbolic of Stalin's Soviet Union. Утро нашей Родины is from 1949, with Stalin radiating a post-war confidence. It is also known as Dawn of our Fatherland and other titles. Shurpin was one of the better artists to carry over from the pre-war years. The narrator pointed out how socialist realist art changed dramatically as a result of the war, becoming much more static and propagandist in appearance. He pointed to two stops along the Moscow subway as an example of this divide. Here, Shurpin essentially transposes Stalin for an earlier "Mother"

Chekhov's Gun

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