I wrote a short piece about why Caterina Pascual Söderbaum’s The Oblique Place (trans. Frank Perry: MacLehose Press) was my book of the year, in 2018. Read what I wrote about it, and some selections by other reviewers, here.
I wrote a short piece about why Caterina Pascual Söderbaum’s The Oblique Place (trans. Frank Perry: MacLehose Press) was my book of the year, in 2018. Read what I wrote about it, and some selections by other reviewers, here.
Alejandro Zambra (translated by Megan McDowell)
Granta: 101 pp.: £8.99 (paperback)
Pablo Larrains’ s film No (2012) is set during the time of the plebiscite referendum in 1988, when it was put to a public vote as to whether there would be a democratic election for the new leader of Chile (vote No), or Pinochet should continue his autocratic regime (vote Yes). In reality, the campaign took place across 27 nights of television advertisements, where each side had fifteen minutes to present their arguments. In the film René (Gael García Bernal), an ad-man who is hired to lead the ‘No’ campaign, takes a maverick approach, and instead of focusing on the dismal injustices of Pinochet, imparts a positive, carnival-esque theme into the No broadcasts. His model seems to be the Coca-Cola adverts he’s seen in the United States. Whereas the Yes team choose to overwhelm the viewer with statistics, evidence (positivist rather than positive you might say) and parody. As history tells us, 56% of the nation voted No, against the odds.
The beautiful paradox of the film is that rebuttal of the desire becomes the way to access the desire. Or put simply, no means yes here. You can ask what they are offering those who do say No, but in fact they probably don’t even know themselves (there are parallels I think with the campaign conducted Jeremy Corbyn led in the 2017 General Election,and specifically the campaign, not the politics). Because the point of it is that they, whether this is the eventuality or not, are opening up a pathway that is not currently there. The only way to get there they believe is to say No to what you know, which, even if you deride what you already have, is still a difficult thing to do.
Multiple Choice by Alejandro Zambra also frames life in the Pinochet regime as a choice. This time it’s not between Yes and No, but multiple choices, like you’d get in an examination (the Chilean Academic Aptitude Test more specifically, Zambra explains at the end). This book/exam has five sections; Excluded Term, Sentence Order, Sentence Completion, Sentence Elimination and Reading Comprehension. Each section then comes with a brief set of instructions, after which you’re tasked with making your way through the book and each part, so make no mistake; this whole book is the structure of an exam. Quite hilariously, you are asking yourself, like the student who hasn’t done his revision, how am I going to tackle this? How am I going to get through this?
Other reviewers and readers have described how the book likens itself to the ‘Choose Your Own Adventure’ stories you might have read as a child. Intentionally or not, there is a much more devilish irony within that if you consider that you would probably be taking the exam Zambra bases his novel on, to get admitted into University. ‘Choose Your Own Adventure’ even sounds like a strapline, a prophetic marketing myth that seems to be a given aspect of the modern University’s image. But there’s a feeling that the more choices you’re represented with here, the less you’ve potentially to actually choose from.
I’m not sure if it’s a universal trait of exams, but even here you’re presented with the easier questions first, or the shorter ones at least (here it is probably harder if we’re thinking in terms of trying to read this as a novel). In ‘Excluded Term’s you must remove the word that does not fit with the title word.
For some readers this might be a breaking point, because the book will invite you to scrawl and dirty it with your scribing. Deconstructionists would have a field day debating who ‘owns’ the text, but you’ll find yourself re-reading questions, frustrated, wanting to know more, wanting to, ultimately, know the answers. There might be some debate around the ingenuity of Multiple Choices, but whatever the purpose of the structure is, here, it is the material of the text as much as the text is alone. Text here feels ephemeral, subsumed by its structural necessities. Question 27 from ‘Sentence Order’ seemed to emphasise that:
27. A Child
1. You dream that you lose a child
2. You wake up.
3. You cry.
4. You lose a child.
5. You cry.
What follows here then is a list of options in which you could put the order of the sentences in (eg.5-3-1-2-4). On other questions you may wonder if this has an implicative effect on the result, but because of the structure, and perhaps where No finishes off wondering about ‘choice’, the structure looks ready to almost undermine the text at every instant, to undermine specifically, the sense of choice. And as you skit through the options, re-framing the phrases in each of the orders, the action itself of doing that, instead, seems to really represent what Multiple Choices has to say or asks. Where does the choice lie?
In the ‘Sentence Completion’ section you’re given a series of sentences to finish:
53. You were a bad son, but ___
You were a bad father, but _____
You are alone, but _____
The 5 options are then:
A) people vote for you
people vote for you
people vote for you
B) I love you
I love you
I love you
C) I’m not your father
I’m not your son
that’s not my problem
D) you know it
you know it
you know it
E) no one knows
no one knows
no one knows
There is perhaps a hint here of the heavy religious influence that permeates Chilean society, but all the choices in this instance seem inextricably linked with the other options, irony abounding, as if the question recognises the redundancy of the options, and why they all go back to the variance C offers. But the ambiguity in what the process aligns itself with, and what wrests it from Zambra making some kind of overwhelming moralistic statement (and would eventually be supremely cynical if that was the case), is that it is very difficult to claim what the process aligns itself with. Is it ideological? Or is it the tyranny of syntax? The banal prospect of individual fulfilment in capitalism? Or something like a Marxist superstructure? Or is this the embodiment of Chomsky’s Universal Grammar? Or just a simple choose your adventure story?
Finally, you come to some longer passages in ‘Reading Comprehension’ in which you answer a series of questions based upon what you’ve just read. Here is a paragraph about twins from the ‘Covarrubia family’:
“Covarrubias family tradition dictated that the firstborn son should be named Luis Antonio, but when Covarrubias senior found out that twins were on the way he decided to divide his name between them. During their first years of life, Luis and Antonio Covarrubias enjoyed – or suffered through – the excessively equal treatment that parents tend to give to twins: the same haircut, the same clothes, the same class in the same school.”
It’s there in the ‘excessively equal treatment’, a euphemism if there ever was one. But the excessive ‘equalness’ and rigidness in the twins life, two people who, on appearance, will look like the same person, probably constitutes every person that has ever sat this exam. It reminded me of that final moment in Kafka’s short story ‘Before the Law’ where the man from the country walks up to the doorkeeper and asks to be admitted to the law. On his refusal at being allowed in by the doorkeeper, the man chooses to sit and wait, which transpires to be his whole life. As he nears the end of his life, the man asks why he was never allowed in and the doorkeeper bellows “No one else could gain admission here, because this entrance was intended for you alone. Now am I going to shut it.”
Not to spin too much of an allegory on Kafka’s story but there does seem a question here at the potency of choice and the potency of the person to enter, indeed, through that door. The doors, or the structure, even when the option may be presented to you, and indeed, presented to be made for you, could still be the thing that doesn’t allow you to access it. Or perhaps that is the moralising statement that Zambra wanted me to make? Or maybe the choice isn’t for you to make? Who knows? Maybe it’s just a question of choosing.
Captain of the Steppe (with introduction by Marcel Theroux)
translated by Ian Appleby
£12.00 rrp.: 231pp.
The Matiushin Case
translated by Andrew Bromfield
£10.00 rrp.: 249pp.
Reqiuem for a Soldier
translated by Anna Gunin
£10.00 rrp.: 185pp.
by Oleg Pavlov
published by And Other Stories
Chekhov wrote subtly but powerfully, as he often did, about the’need’, a desire to move from one state or another through the acquisition of something external and satiation of something internal. This feeling may hark back to times past, creating more illusions now, but a reality once, and might guide us to something that will not necessarily aid us. It is as Maria and Olga reflect in the story ‘Peasants’ “the terrible incessant need from which you cannot hide anywhere”. So is the need hiding from us, or we hiding from the real need? This is the question that has shaped modern humanity, and never have our needs and desires and how we acquire them been so permissibly accessed, and only now, perhaps, are those needs so questionable. It’s ironic now then that we go to a writer who shares his surname with a man who pioneered psychology – Oleg Pavlov.
But my needs are tied up to impose a narrative, contextualise. I return to Vladimir Sharov’s quip that “Russian history is, in fact, a commentary on the bible.” After reading Oleg Pavlov’s loose trilogy; Captain of the Steppe, The Matiushin Case and Requiem for a Soldier, the question of who shall lead these men and give them what they need throws Sharov’s sound-bite into a not-so non-divine light.
Pavlov is well garlanded in Russia winning the Russian Booker Prize and the Solzhenitsyn Prize. Marcel Theroux writes in the introduction to Captain of the Steppe, quoting Kurt Vonnegut,that the principle of good storytelling is that every character should want something, even if it is only a glass of water. Vonnegut is right, and there are few good novels that focus on characters who are purely indifferent, but that need only has to be a simple one for the reader to be engaged in the character’s endeavour to get it. In Pavlov’s work, that need is nearly as simple as a glass of water. “A decent and conscientious officer” says Theroux of Captain Ivan Yakovlevich Khabarov, on the verge of retirement and for Theroux a“more pragmatic man would see out his final days at the camp and leave. Not so Khabarov.”
Writing is an avoidance of cliché, but maybe because it is trying to describe a cliché. In this case: an army marches on its stomach.
“Khabarov began making assumptions about a lot of things in advance. We’ll live the way we always have, he said repeatedly, in a tired voice when the regimental supply truck turned up, complaining only that once again, they’d been a bit stingy over how many potatoes they’d sent.”
The potatoes they are sent are mostly rotten and unfit for consumption, outdated much like the year-late newspapers they receive. Khabarov realises though that “The events that were transforming everything in the world did not make it as far as the steppe – they got lost on the way.” And so Khabarov then realises what others need and sets off on the course to satisfy that by growing a vegetable patch. And this is how it often starts in Pavlov’s work; that simple need to satisfy a need, plunges into farce, bureaucracy and the potential for tragedy.
It is told in such an unemphatic manner, a characteristic Pavlov maybe shares with Chekhov (and that passage from ‘Peasants’ is probably one of Chekhov’s more emphatic moments), when it is a simple and unemphatic thing to do, yet its effects are far reaching and such is its escalation. It is good-willed but not saintly, and for its sake, it is disruptive but hardly revolutionary. It might be as simple as a glass of water and as essential as one.
When asking for simple things though, it usually means that there are complicated reasons that it hasn’t been accessed in the first place. In Khabarov’s case this is food, or potatoes, but this greater notion of ‘fuel’ is perhaps where Pavlov’s greater comments are being suggested. It is easy to apply it to a commentary on the Soviet Union, and certainly it does appear to be part of it, but some of the joy is in this ambiguity of its wider significance. A humble potato is yes, a solid, starchy food, a great source of sustenance, they’re a key ingredient in the production of vodka, but as a form of ‘fuel’ ,it has that greater impotence within the idea of what ‘fuels’ a country and people. Russian oligarch’s make their money in oil and fuel, but fuel burns and wastes away, yet is essential to continuation. Here the characters are already “wasting away” as Pavlov tells us on the first page, so where are they to get the fuel?
Here is Khabarov tending to the potatoes:
“When the sun blazed, he was happy, thinking that the potatoes were absorbing its warmth. And when the rains poured, he was happy, thinking that their potatoes were drinking their fill. However the captain did not know when to dig up the potatoes, as if this had to happen on a single day, like death or birth.”
The potatoes are reminiscent of Seamus Heaney’s blackberries, that as soon as he has picked the fresh ones, they begin rotting, but “Each year I hoped they would keep, knew they would not” (from ‘Blackberry Picking’ in Death of a Naturalist). Even in knowledge of their early demise, he continues to pick them. If that is knowledge then what is that makes him pick them? Is it the same thing that makes Khabarov plant those potatoes? If it is the knowledge of death, is it the same belief that also makes us ignore it or make us believe in things like religion? Or rather is it the search for something grander, an eternal fuel that doesn’t expire? These are of course hardly answerable questions, at least succinctly, and it is up to the reader what they ask and what they think is answered, but there is something in Pavlov’s novels which keep the characters going even when they know death is likely awaiting them. And at the same time, it’s like the characters are looking for a guide or leader, not noticing that it has been bestowed on themselves, or not noticing that the act they’re undertaking is such an indebted one. Pavlov’s narrative voice, his omniscience, then feels burdensome and intrusive like the ultimate bearer of that knowledge. Even when they’re not sure what keeps them going, he is the one that punishingly is.
In The Matiushin Case we’re made aware of something fueling and being present early in the character’s life. This time, it’s a much more localised affair, and the element of farce is removed, the caricature stripped to something rooted and inflicting. Here it focuses on two brothers, one of which dies, and the other is set to live out his legacy. You might call it a condemnation to live his brother’s legacy, and Matiushin is a very Dostoevskian character but without the internal, erratic madness.
Early on (and early on is very important here: or is it?) it’s clear to Matiushin that his more valiant brother was their parent’s pride. But baring in mind what’s been identified in Pavlov’s ‘authorial presence’, we’re given this in the first few pages:
“Matiushin had eaten up since he was a child – choking as he did it, but eating up. There was a fear in it, but a thrilling fear, contaminated with love, exactly like his jealousy of his older brother’s closeness with their father – and the love, not the dread, made them subject to their father’s will. This love could not be eradicated from their hearts. Just as their father failed to grasp that he was driving his children away and taking revenge on this alien life through his antipathy for them, so his children failed to grasp that the stronger it became – this antipathy of their father’s, their sacred, bloody revenge that he was wreaking on life through sacrificing them – the more selfless and insuperable the impulse of their love for him would become, as if it were the very impulse to live, and they couldn’t manage without each other.”
There is a lot going on here, but I think it’s necessary to quote at length. Considering how soon this is, it feels like it’s presented by Pavlov as a sort of admission, so that again, that question of what is needed and how it is attained is not so simple. We’re not sure whether it’s the consciously desired path or a more complicated inevitability, and also that sense of somebody knowing more than the character, the all-seeing and expectant viewer is very present. When Matiushin goes into the army then to fulfill, a prophecy, a journey, it’s easy to see the allusions to Dostoevsky, but with that, come those questions of faith and Christianity. Back out in the steppe, the narrator follows Matiushin with a cloistering closeness as if that strict observance from the father never left him. Is this the punishment before the crime? Perhaps it poses the question of religiosity being explored more intensely than Dostoevsky because the crime hasn’t happened yet, or at least Matiushin’s crime.
It’s an intense experience. Pavlov is comfortable with repetition, barrenness, depressiveness, and the fact is that we’re out on the steppe, in the largest country in the world, in a place of sheer expanse. This is central to what Pavlov is trying to manipulate. They say you never feel lonelier when you’re stood in a crowd of people, and perhaps you never feel more confined when you’re stuck in the middle of nowhere.
“Life was shit because it was a long march to the vodka tower, there wasn’t enough space to live in…While you were content with just one square foot of land in the world, you stood on just that one square foot. But the moment you looked up at the sky, you scraped your dirty face against its vastness.”
The irony in the metaphor of that final sentence emphasises the desperation in the act, to ‘feel’ the physicality of its distance. It’s not a discovery to find that there are forces working against what we think we need, the knowledge as Heaney suggested, is already there. To return then to that idea of fuel that was prominent in Captain of the Steppe, it is burning and expiring as soon as we engage in it. Take for instance the moment when Matiushin wants a drink – “ He absolutely musn’t, although he couldn’t understand what point there was in forbidding himself a drink,” – and it does sound like a religious abstinence or an abstinence imposed by something as powerful as religion. But here is Pavlov’s power. And this is perhaps a scarier question, because we must wonder then what it is that stops us or doesn’t stop us, like Matiushin, like ourselves, in doing the things that we do? We can even use Ivan Chistyakov’s diaries as a similar example (and also why Pavlov has gained comparisons with Solzhenitsyn, not forgetting that he was also a prison guard) of where the question of choice and need doesn’t just become one of physicality. And the ingenuity of it is that, Pavlov leaves this choice open to the reader. The space that he eventually creates opens for these questions is a scary and vast one and one that we might rather foreclose again.
That image which may appear certain, or closed, yet is paradoxically a vast one is something that sustains Pavlov’s writing. His themes, motifs and images rarely change (a steppe; the military; a simple completion of a task).That great, big open space, yet the dogma and the regimental living within it, and this was the same Requiem for a Soldier. It has those similar themes to that which we’ve seen in the previous two novels, but the farcical nature from Captain of the Steppe is re-injected here to deliver what was the best work of the three. This is combined with translation from Anna Gunin which I think captures Pavlov’s syntax and language the best out of the three.
Set within the final days of the Soviet Empire, Alyosha, having just completed his army service has been promised a gift of an ‘eternal steel tooth’ by his commander (who, perhaps in a throwback to The Matiushin Case, is also deaf). Alyosha has a tooth removed to make way for it, but it never seems to arrive. In the mean time Institutov, who runs the medical infirmary and removes Aloysha’s tooth, conscripts Alyosha into completing tasks around the chaotically organised surgery. But as the tasks accumulate, one of them involves collecting the corpse of soldier from a lab and having it transported to Moscow, leading into an absurd, picaresque journey.
Again, it is incredibly bleak but it’s accompanied with equally as bleak and black humour. The ambulance for instance, that Institutov and Alyosha carry the dead soldier’s body in, isn’t saving lives – it’s already carrying the dead. The grand metaphor that immediately stands out is this idea of the corpse of history, the dead Soviet state (and that idea of avoiding a cliché to talk about it again, when the hole in the head of the soldier is revealed: “an ordinary first-aid plaster. Institutov peeled off the white backing tape and with an unfeigned look of anguish, he stuck it over the dark hole in he corpse’s forehead”). And what is to be done with that body, when it refuses to disappear and refuses to lay to rest? Freud said that unexpressed emotions never die, are only buried alive and come forth in uglier ways, and so with Pavlov writing this in 2002, but it only being translated into English in 2015, it follows a convenient parallel with modern history. Putin, Trump: there is evidence of uglier ways coming forth.
It’s a question that has concerned the history of humanity, how we come to terms with history or events and what we do with the corpse of the past. Antigone had to defy the law to give what her brother the rightful burial that she thought he deserved, and in the accordance of a different kind of law to the one imposed on her. “Leave me to my own absurdity, leave me to suffer this dreadful thing” Antigone cries, so one wonders then who’s absurdity Alyosha has inherited? Further, one wonders what absurdity we have have already inherited it in what we’re faced with now in form of a new global order? Maybe liberalism really didn’t allow us to confront anything, only contradict ourselves, make us conscious cynics of our age.
But there are two burials that Antigone and Creon battle over. She wishes to see it observed by divine, familial law and Creon thinks that it deserves to be left to rot with the parasites and the carrion. So again, we’re confronted with that question of conversion and space. What becomes of the fuel? On one of Alyosha’s earlier tasks he is charged with retrieving the bread and the water (yes, that simple thing). He takes a sledge with him and trudges in the deep winter to the village.
“Harnessing himself to the sledge, Alyosha cursed at his heavy load, perhaps the way a horse might gently curse a laden cart. If only the horse could know that the cargo was hay, and the hay was to feed his very own self, then wrath would give way to joy. As for Alyosha, he could not rein in his fiery human resentment. It was as if his whole scheme had been specially dreamt up: we’ll make him drag his burden for a good fifteen miles, only to dispose of the whole heavy load into his stomach, turning the lot into nothing.
It was here on this winter road to nowhere, loaded with something destined to turn into nothing, that Alyosha discovered life’s simple command.”
Alyosha couldn’t convert enough snow into water by melting it and that simple combination of elements was not enough to satisfy a more widespread need. In Pavlov’s narrative world it is that fear of something destined to turn into nothing, and the vacancy of it’s departure. Pavlov shows that that ‘space’ isn’t necessarily empty, it’s negated, and it is the space that confronts us all and when it is departed there are more difficult things to be comprehended. Pavlov will not give you any answers though. If Russian history is a commentary on the bible, in Pavlov’s world the passage and the ending is not so comforting, and the knowledge that we choose to either ignore or use, might not even help us anyway.
The Kiss and Other Stories
Anton Chekhov (translated by Hugh Alpin)
Alma Classics: 256 pp.: £7.99 rrp.
‘The Huntsman’ is the first story in the OUP’s (2004) edition of Chekhov’s stories. It is four and a half pages long and it features a man called Yegor Vlasych,who is merely known as the Huntsman, until he is called by somebody as he passes through the village. This woman is his wife, Pelageya. On one page, happiness is ‘raditating’ from her face at seeing the man, but by the next she is sobbing: “It is a sin Yegor Vlasych! You could at least have the heart to spend one day with me. It’s twelve years since I got married to you, and…there hasn’t been love between us once! I’m…I’m not crying…” she says.
The Huntsman, rather than spend his days in the village with his wife, is employed as a huntsman, at a presumably rich man’s estate, where he brings game to to the rich man’s plate. There he is fed and bathed as well as being employed and cannot stand the village life that he has left behind any more. On his wife’s above denouncement of their love he replies: “Love…There can’t be any love. We might officially be man and wife, but is that what we really are? To you I’m someone wild, and for me you’re just a simple woman who doesn’t understand anything. Do you really think we are a couple? I’m an idler, I’m spoilt and free to roam, but you’re a labourer, a peasant; you live in filth and you’re always bent over double…” It turns out they were married off drunk, and because of the man’s other intoxication with his free spirit, he then heads off again out of the village and the story is over.
One could go on for pages about this story alone, but ‘The Huntsman’ provides a brief, yet lucid portrait of what to expect when reading Chekhov. As one of his first published ‘serious’ stories at the age of 25, there is that male figure, the sense of a drifting presence, and the fickle, but powerful emotions people experience at the fate of elusive, powerful desires. Yet even though Chekhov’s stories focus on the individual male, the female has presence that is not just as a conduit for the male character. Here we have a writer, writing in a time of modernisation, but not necessarily grappling with it; a sense that things are changing but Chekhov is not necessarily going to be the great chronicler of it. What we have then in his work, is a feeling; he is a writer concerned with what moves us, and when it moves us.
Chekhov has a solid standing in the pantheon. There are his critics such as Nabokov (more a begrudging admiration: after all, who did Nabokov actually like?) and where one sees Chekhov’s main admirers like Hemingway and Carver you can see why there might be a difference in opinion. Indeed it shows the problem that can be at first presented when reading Chekhov: he is often labelled as ‘elusive’ (cf. Virginia Woolf). Epiphanies can pass you by, and the effects can slowly accumulate but then be gone, missed or enduring in the instant. As a result its simplicity is deceptive, like his reliance on the blindness motif, because there is a timeless maturity to Chekhov’s works that can only be gained by re-reading, a form of a maturity in itself.
This is a lesson I had to undertake. On presented with a new translation of Chekhov’s works, I’m not going to sit here and propound the critical benefits and lessons to be taken from Chekhov (I am not qualified to do that and people have been doing that for a one hundred years now), so, instead, I am going to show what I have learnt from Chekhov and what Chekhov means to me, through Alma’s new translation.
Here are seven stories, arguably the most well known, including ‘Ward Six’ and ‘The Lady With a Little Dog’. They’re presented in chronological order so you can see the trajectory of Chekhov’s writing and the development of the society that he was living in. In ‘The Kiss’ , the first story, there are the familiar Chekhovian elements of grand houses in rural settings, but we have telegraph wires in ‘The Bishop’, and the more cosmopolitan lovers of ‘The Lady With a Little Dog’ as we approach the turn of the century. Intersecting these is the longer story ‘Ward Six’, which sees somebody battling with the seemingly outdated methods and principles of institutionalization; or the peasants in ‘Peasants’, who’s village has a feeling of been left behind, or the differing views of the Landscape artist in ‘The House with a Mezzanine’.
By the time Chekhov was gaining maturity, the greater works of Tolstoy and Dostoyevsky were already published. Tolstoy was turning to the shorter stuff and Dostoyevsky had died. Chekhov is arguably the last great name of the Golden Age, and his works capture this sense of change and development in the society he was living in. He doesn’t necessarily capture the changing patina of society, instead he captures the consciousness of these changes. There is a great sense of society dealing with new ideas and new professions and new discourses as a result.
Ultimately, you’ll see Chekhov is concerned with movement. In essence, there is a constant sense of movement and transition in Chekhov, a subjective kind of emotive change which can contradict the physical state. People can be rooted to the spot, but still be at the whim of their emotions, which I don’t think any other writer so subtly captured at the time. There is a persistent sense of something driving, a kind of will, but with the dissolution in the idea of God, this will is not so simply explained by grand theories.
So let’s start with the first story – ‘The Kiss’. A tired Artillery Brigade stop in the village of Mestechki. A man on a strange looking horse arrives telling them that the local landowner and Lieutenant, General von Rabbek, wishes them to visit his house for tea. They’re tired and they’re all reminded of a time last year, when in a similar situation, their host had kept them up all night and, as a result, they were not able to get any sleep (which indicates fortunes were greater for the army last year).Raising the spirits however, is the prospect of women being at the house.
Staff Captain Ryabovich recognises himself to be the most timid man there. On our introduction to him we are told that he has a ‘psychic blindness’ where he sees but cannot comprehend what is in front of him (something that recurs through Chekhov’s stories, this sense of visual occlusion as both a metaphor and device). When Ryabovich leaves the men watching billiards – bored – he gets lost in the large house, and as he stands trying to determine where he is, somebody grabs and kisses him, stepping back in disgust realizing that it was not the person she was looking for.
‘The Kiss’ is a fine example of Chekhov ‘moving his characters physically, but also mentally. Chekhov does not necessarily show the results of these moments, but it is as if the act of the short story, that elusiveness that is often admired and criticised in Chekhov is ideal for him to catch that moment somebody is ‘moving’. The near past is always in reach as if trying to impress on now, but we only get clues to the greater history of what has happened to the characters – and ultimately the society they live in – and how it is affecting their internal world now.
Ryabovich at first is described as, before following the men to the billiard room:
“With nothing else to do, and wanting to take some part in the general movement, Ryabovich wandered after them.”
His boredom is already apparent and when he wanders away again he becomes lost and is “stopped in thought”. After this he is mistakenly kissed and at first he is “tormented by shame and fear that the entire hall knew about his having just been embraced and kissed by a woman,” but moments later he becomes “the whole of him, from head to toe, was filled with a new feeling, which kept growing and growing…”
Strange new feeling indeed – all this happens in a page – and all just because of some kiss that was not meant for him? This isn’t just a virginal man who has had his first sexual experience, and nor is this kiss itself a euphemism for something greater; instead we have seen the moment. Ryabovich now becomes “absorbed in his pleasant new thoughts” and as he continues with his brigade, in what seems like a very long and boring journey, with no hint of battle, it is conducive to his meandering, wishful thoughts:
“On 31st August he was returning from camp – not with the whole brigade now, though, but with the two batteries. All the way he was daydreaming and agitated, as though he were going back to his birthplace. He had a passionate desire to see once again the strange horse, the church, the insincere Rabbek family, the dark room; the “inner voice” that so often deceives those in love was for some reason whispering to him that he was sure to see her…At the very worst he thought, even if he were not to meet with her, the mere fact of walking through the dark room and remembering would be pleasant for him…”
There is a whole host of details in there that could be swept over, but look how much movement there is within movement. He is agitated, but is this inspired by the boredom of the journey, or his own intense desire to experience the kiss again? Where has this ‘inner voice’ come from that Ryabovich did not seem equipped with before? And finally who is “her” Ryabovich slowly becomes more concerned with the kiss than the woman who potentially kissed him. Is the “passionate desire” commensurate with the fact we believe the “inner voice that so often deceives us”?
Something has awakened in Ryabovich, but Chekhov subtly does not let us believe that it is a life-changing course inspired by an unexpected event. He has had an epiphany of sorts, but the way forward is not necessarily clear. The inner voice was already there it seems, but has become louder because of the kiss, and there is the detail that it felt as if he “were going back to his birthplace”, rather than him going forward in any particular way. What’s past is prologue said Antonio to Sebastian in The Tempest and although they were committing murder, there is a sense here that love is as bound upon strong desires as the forces they were experiencing.
The characters are at the expense of some kind of greater force, but the questionableness of that greater force has never been so intense. It is not so simply a matter of faith any more, or if it is faith, it’s not necessarily faith in a discernible, all-powerful big Other like God. This is then is what I will with deal with more directly in the second half of this piece as we take a closer examination of how Chekov’s characters are moved.