Skip to main content

Forgotten Wives

There was an interesting passage in Laimonas Briedas' City of Strangers in which he described Dostoevsky's brief visit to Vilnius on his way to Baden-Baden.  The passage was drawn from Anna Dostoevsky's diary, in which she describes her husband refusing to go out that night for fear his baggage might be stolen.  It seemed Fedya lived in a very agitated state, especially when confrontied with a strange place.

I was curious to find out more and did a search for her diary.  Unfortunately, I couldn't find any previews, but stumbled across Leonid Tsypkin's novel, Summer in Baden-Baden, which is drawn from Anna's diary.  He mentioned the Dostoevskys' layover in Vilnius, but described only their morbid fear of Jews, who dominated Vilna at the time.


Poking around some more, I found that Alexandra Popoff has written a new book on The Wives of Russia's Literary Giants, which looks very tempting.  We often take these wives for granted, but in recent years they have been brought to life in such books as The Last Station, in which Jay Parini focuses mainly on Sofya Andreyvna and her battle with Chertkov over Tolstoy's estate.  Largely fictional but no less compelling, the  book elevated Sofya into a major player in Tolstoy's life.  It was made into a film starring Helen Mirren.

Getting back to Anna Dostoevsky, she did play a major role in keeping Dostoevsky's works in print, and was very instrumental in getting Stanislavsky to stage his short novel, The Village of Stepanchikova, ten years after Fedya's death.  The play would prove very influential on subsequent writers like Samuel Beckett.


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"