Skip to main content

Sonechka



A friend mentioned Ludmila Ulitskaya the other day and the name sounded familiar.  Sure enough, I had a copy of Sonechka: A Novella and Stories sitting on my shelf and read Sonechka that night.  Odd little story as it seems more a sketch for a broader novel that Ulitskaya had in mind than a novella.  The story starts to get quite complicated as Sonechka's elderly husband finds himself infatuated with their daughter's beguiling friend, Jasia, a Polish girl who was trying to re-invent herself in Moscow in the late 70s.  Sonechka seems oblivious to these events swirling around her, remaining devoted to her books which consoled her during her mundane childhood and years in a public library.  You expect more to come out of this story, but it doesn't.  It just trails off with Sonechka once again absorbing herself in her books.

The story is quite interesting, as Sonechka was born out of WWII whereas Robert, her husband, was a well-known artist who had managed to survive the concentration camps and moved back to the Ukraine after the war.  After some time in the shetls, the two move to Moscow with their young daughter.  Sonechka had inherited her mother's sewing machine and saved up money to buy three rooms of a wood house in an old quarter of the city.  Robert had revived his painting.  Tanya, their daughter, was budding into an attractive high school girl, but then she meets Jasia at night school and the peaceful life Sonechka had long imagined is turned upside down.  Sonechka made me think of Kathe Kollwitz, especially as she sunk into old age.

I read one of the other stories, Dauntless Women of the Russian Steppe, which had a very eye-catching title.  It focused on three Russian women drinking away their man-problems in a New York apartment in the early 90s.  Seemed to echo Moscow Does not Believe in Tears.

Not quite sure what to make of Ulitskaya after this little foray.  My friend tells me that Daniel Stern, Translator is well worth reading, but it doesn't seem there is a copy in English.  The Funeral Party has been well received.  May turn there next.

Comments

Popular posts from this blog

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"