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Russian Literature and the Big Society

It comes as something of a relief to learn that the Observer’s story about the government linking research council funding to the study of the Big Society turns out to be exaggerated, but given that our funding is at the mercy of the AHRC’s decisions about research themes, which in turn are dictated by their need to persuade the government that the research they fund is socially useful and gives value for money, I’m not sure it actually makes much difference. But perhaps Russianists need not despair – after all, we know a thing or two about research in the service of state propaganda. So, with that in mind, a couple of ideas for literary research projects:

Defenestrating Old Ladies: A Kharmsian Approach to the Pensions Crisis

Promoting Family Values in the Big Society: The Brothers Karamazov

Cost Savings in the Criminal Justice System: Learning from Shalamov’s Kolyma Tales

A Sholokhovian Analysis of Research Funding: The Don Flows Down to the AHRC

Tolstoy’s Kreutzer Sonata: An Argument for Ending All Arts Funding?

Entrepreneurship in Action: Gogol’s Dead Souls

 

Hughesovka revisited

Finding the concept of Welsh Noir rather appealing, I’ve been meaning to get round to reading Malcolm Pryce’s Aberystwyth novels, featuring gumshoe Louie Knight, for some time. But it was only when I picked up a copy of the latest addition to the series, From Aberystwyth With Love, that I realized its true significance. I had anticipated the possibility of a Russian(ish) theme from the title, but I wasn’t expecting a novel about Hughesovka, the steel town in Ukraine founded in the 1870s by the Welsh entrepreneur John Hughes and initially populated by Welsh workers (see my previous post for more on this story and the Merthyr connections that drew me to it). Welsh patterns of emigration are a fertile source for the imagination (Patagonia features elsewhere in Pryce’s books, and there’s also the recently released film about the Welsh colony there), and the oddity that is Hughesovka really allows Pryce to go to town. But the book has a good deal more than that to recommend it. I like its style, its combination of traditional beliefs and seaside tat, its absurdism that is not only played for laughs (although it is brilliantly funny in places), but is also part of the novel’s philosophical questions about human nature and the meaning of life.

From Aberystwyth with Love really does begin at the beginning, with a rewriting of the story of creation from the first book of Genesis. This may seem slightly spurious at first, but it eventually becomes clear how it fits into the book’s logic. And just when you’re wondering how we’re going to get from creation to the plot, it segues neatly into the arrival of Uncle Vanya.  No, not that one – this Uncle Vanya is a Gulag survivor (from Kolyma, no less – I believe I hear echoes of Shalamov in some of the stories he tells) and a former curator at the Museum Of Our Forefathers’ Suffering in Hughesovka, and he come to Louie Knight with a strange case that connects his daughter to the Welsh homeland… I don’t want to give away too many details, but suffice it to say that, among many other things, bearded ladies, spinning wheel salesmen, an imaginary friend and the Soviet space programme all play a part.

When we finally get to Hughesovka to solve the mystery (and I must say it was a little too long in coming, and a little too brief when it arrived), it is a bleakly Soviet place where ‘the streets had been originally laid out according to the street plan of Merthyr Tydfil’ (p. 218) and every other street is named after John Hughes (I was strongly reminded of Swansea’s obsession with naming things after Dylan Thomas – incidentally that was where I bought the book). The security services are still arresting people at the drop of a hat, while the Welsh Underground (members include Evans the Swindler, Morgan the Enemy of the People and Jones the Deviationist Heretic) keeps memories of Wales alive through samizdat and helps people escape back to the motherland. Both here and in the scenes in Aberystwyth of Uncle Vanya and Louie drinking vodka, I gained a real sense of an affinity between the Russian (okay, I know, Ukrainian) and the Welsh soul that had never really occurred to me before.

I like Pryce’s vision because he takes the almost mythical story of Hughesovka’s origins and combines it with aspects of the Stalinist past to produce a world that is at once coherent and absurd. There’s no pretence of realism or accuracy – I have no doubt that his Hughesovka bears no resemblance to Donetsk today or indeed at any point – so the book doesn’t become implausible in the way that, say, Child 44 does. It takes its flights of fancy and bizarre connections to the limit and the result is clever and original. Even though parts of it are quite dark, I haven’t had so much fun reading a book in a long time. I shall certainly be reading the other books in the series, and would strongly recommend them to other people (even if they’re not Welsh).

Postscript: Shakhtar Donetsk have just drawn Barcelona in the quarter finals of the Champions League. In honour of those intrepid Welsh steel workers who moved to Ukraine, and the members of the Hughesovka Welsh Underground yearning for the motherland, all Welsh support should be with the ‘moles’ of Donetsk.

Atamansha

According to one of my mailing lists, a poll to identify the women who best symbolize modern-day Russia has seen the top two places given to ageing  lite entertainment diva and staple of celebrity gossip magazines, Alla Pugacheva (I could never see the point, even ironically – perhaps because I like music), and the arch-Putinite governor of St Petersburg, Valentina Matvienko. This was a very depressing note on which to greet International Women’s Day, especially on its 100th anniversary, so to erase that memory, let us recall instead a more interesting and inspiring example of Russian (or rather, Ukrainian) womanhood, Maria Nikiforova (1885-1919).

Marusya, as she became known, left home at 16 to work in a factory, and soon became involved with an anarcho-communist group. In 1908 she was sentenced to 20 years’ hard labour for her participation in terrorist activities, but escaped from her Siberian prison and eventually, after a brief spell in the States, settled in Paris. In 1913 she attended the Russian anarcho-communist conference in London (if I can find more details about this visit, she may well appear in a later Russians in London post), and at the outbreak of war she seems to have sided with Kropotkin and the anti-German faction. Like many exiled radicals, she returned to Russia after the February revolution of 1917, first carrying out agitational work in Petrograd before returning to her native Ukraine, joining forces with Makhno, first to defend the revolution, then to support the Bolsheviks, then against them (as anybody who’s ever read anything about the Civil War in Ukraine will know, it was a very complex situation with multiple sides and a constantly changing political landscape), in both regular battles and guerilla warfare. Steadfast in her views, Marusya was known for her brilliant skills as an orator, and her courage as a fighter. She was arrested several times, by various sides, and was executed by the Whites in Sevastopol in September 1919.

It’s perhaps not surprising that Marusya, despite her fame at the time, is so little known today. As I’ve noted previously, the Bolshevik party was not the most women-friendly of organizations, and it seems as though the combination of being the wrong gender and on the losing side was enough to condemn her to obscurity. However, it has to be said, there’s also very little written about her  in materials about Makhno and anarchist history, although a book by Malcolm Archibald has rectified the situation somewhat. He is also the author of the brief biography of Marusya on the Makhno archive. Some people might balk the idea of Marusya Nikiforova as a role model, because she advocated violence and was fully prepared to carry it out herself, but she was evidently a remarkable woman who should still be remembered today.

Top Ten Animals in Russian Literature

As I have suggested previously, animals have a significant place in Russian literature, and I think this is quite unusual, probably reflecting the greater proximity of Russia literature to its folklore roots than is the case with other literary cultures. Although obviously children’s stories in English (as in other languages), are full of animal characters, it’s hard to think of comparably prominent animals in English literature for adults – there are pets and such like, but they tend to be either incidental or purely symbolic, rather than actually having an active role in the story. One might suggest that Animal Farm – although some would also classify that as children’s literature – is the exception that proves the rule, but perhaps Orwell’s novel tells us something about animals and Russian literature as well, given that it’s an allegory of the revolution.

10. The Lion in Zamiatin’s The Lion (1935). The lion works as an extra at the ballet theatre, but when he gets dead drunk and threatens to ruin an important production, Petya Zerebyakin, the theatre fireman, valiantly steps into the breach, despite looking more like a bear. Worth reading for the penultimate paragraph alone. Russian | English

9. The dog in Turgenev’s The Dog (1866). One of Turgenev’s prose poems, this is a meditation on life, death and fidelity. Told as a story of the workings of the supernatural in real life, it actually features three dogs – the ghost that visits the narrator Porfiry Kapitonych, Tresor, the setter who becomes his faithful companion, and the rabid dog that attacks the one and kills the other. Many of Turgenev’s best stories contain elements of the supernatural and folk beliefs, and I often wonder why he is more famous for his novels, many of which I find rather bland and uninteresting in comparison. Russian | English

8. The monkey in Zoshchenko’s Adventures of a Monkey (1945). Zoshchenko’s little story of a marmoset who escapes from the zoo during the war after a bomb falls and struggles to cope with Soviet reality got the author into serious trouble, ending his position as the acceptable face of Soviet satire. The monkey – as the end of the story confirms – is intrinsically more sensible and civilized than most of the Soviet citizens she encounters, and as she attempts to find food and shelter, the refrain ‘Well, she’s a monkey, she doesn’t understand what’s going on’ serves to remind us that we shouldn’t either. Russian

7. The crocodile in Dostoevsky’s The Crocodile (1865). Okay, so doesn’t really do anything except sit like a log in the Passazh arcade and swallow the protagonist, Ivan Matveich, but you have to admit that once it has swallowed him, the image of a crocodile expounding on political economy is just brilliant. Plus, I’m a Dostoevskoved, so he has to be in here somewhere, but he doesn’t really do animals. Other animals, such as the apparently resurrected dog from The Brothers Karamazov, or the dream of the horse in Crime and Punishment, are incidental, not central – and anyway there are far more interesting dogs and horses to include in this list. So the crocodile it is. Russian | English

6. Tamara in Shalamov’s The Bitch Tamara (1959). There are a number of animal stories in Shalamov’s Kolyma Tales, but I think The Bitch Tamara is special. It’s a story about ethics and memory, and the dog who is brought into the work camp by one of the prisoners and gives birth to a litter is the repository of both. She awakens both fellowship and altruism in the prisoners – they want to tell her about their tribulations, they give her food, and build a kennel for her and her pups – and her death is followed by one of the few instances of natural justice in Shalamov’s world. Russian

5. Misha the bear in Platonov’s The Foundation Pit (1929-31). Opinion differs as to whether Misha is a real or a metaphorical bear, but this exemplary proletarian with singed fur from working in the smithy and an infallible nose for sniffing out the kulaks who have oppressed him in the past is one of Platonov’s most memorable creations, epitomizing the surreal nature of Platonov’s fiction and of the Soviet experiment. Russian

4. Giu in Grossman’s The Road (1961-2). Giu is an Italian mule who, after a hard life under the sun in his homeland, is transferred to Stalingrad to face the cold and the horrors of battle before ending up in Russian hands. The war is encapsulated through the experience of this most philosophical of creatures and his final discovery of love, and the story makes a startling contribution to the long-standing theme of Hamletism in Russian literature. Russian | English

3. Fidele and Medzhi in Gogol’s Diary of a Madman (1835). St Petersburg is clearly home to a better class of dog than anywhere else, as these two not only talk, but write letters to each other. Although the narrator Popryshchin discerns some unevenness in the style, and gets annoyed with Medzhi’s trivial preoccupations, he does acknowledge that the canine correspondent uses correct punctuation and spelling, and makes allusions to German literature. Russian | English

2. Begemot in Bulgakov’s The Master and Margarita (1928-40). In the battle between a massive satanic cat whose name means’ Hippo’, and the result of an operation to transplant human testicles and pituitary gland onto a dog, Bulgakov’s cat wins – not least because Begemot is a crack shot, whereas Sharikov in Heart of a Dog, is pretty useless as a dog-man (although in his initial doggy form he teaches himself to read and has a good deal more charm). But he cannot compete with Begemot, who talks, walks on his hind legs, pays his fare on the tram, and eats with a knife and fork. What’s not to like? Russian | English

1. Misha Penguin in Andrey Kurkov’s Death and the Penguin (1996) and Penguin Lost (1997). Unlike many of the animals on this list, Misha doesn’t speak, in fact he doesn’t do anything special, but his fish-eating, plip-ploping around and splashing in water turn into the most remarkable expression of an animal’s soul in any language, and he becomes the serious, existential centre of all the black humour and absurdity that surrounds him. He is just unforgettable, a creation of genius.

And that’s it, except that I should probably defend my decision to exclude Tolstoy from the list. He is, of course, famous for his depiction of animals, but I think his best descriptions, such as the horse race, when Vronsky’s mount Frou-Frou breaks her back, and the hunting scene told from the point of view of Levin’s dog, in Anna Karenina, are incidental. I’m afraid I find Kholstomer (Russian | English), his 1886 story of an old piebald horse, told from the horse’s point of view, rather sentimental.

Lenin in London: A Reply to Helen Rappaport

I recently received a comment from Helen Rappaport, responding to the criticisms I made of of her book Conspirator: Lenin in Exile (New York: Perseus, 2010) in my post on Lenin in London. You can read her comments on my Contact Me page, but I have decided to reply here rather than there, as I have realized that some of the things I said were unfair and I owe her an apology. I described the book as ‘having numerous inaccuracies and a rather relaxed approach to citing sources’, which is unjust. I did find some inaccuracies, for example the assertion that Kropotkin lived ‘in a tiny house in Highgate’ (p. 70). Actually it was Hampstead, although that could be my mistake in my notes, but the real problem is that Kropotkin only lived there briefly in 1893 (at 55 Frognal, according to S. K. Romaniuk’s Russkii London (Moscow: Astrel, 2009), p. 158 – a very useful guidebook I’ve only just got hold of). By the time Rappaport is referring to, 1907, he had lived at 6 Crescent Road, Bromley, for more than a dozen years. Nevertheless, such problems are hardly on the scale I suggested, and it was certainly not my intention to imply that other references I made to the book were inaccurate – in particular, on the question of Lenin’s teacher Henry Rayment, and the name of the building in which Stalin stayed, she has provided the correct version.

On the question of citing sources, again I was too harsh, although there were a couple of occasions when I looked in the notes for references and was surprised to find nothing, and one text that was particularly relevant to me does not seem to get a full citation anywhere in the notes or bibliography. The real problem here is actually the form the notes take. There are no endnote indicators in the text, and instead the notes just cite a page number, a short phrase from the text, and then the reference. I don’t know why this system was chosen – it may have been a decision by the publisher – but I think it is remarkably unhelpful, and almost seems to suggest that the references are unimportant. When reading the text, you have no idea what is going to be referenced and what isn’t, and when you look at the notes, you have to keep going back and forth to the text to find the bits you want. For anybody who is interested in the sources, this is frustrating and time-consuming, and I have to admit this was the main reason why I got annoyed with the book.

So, although I do have some criticisms, I withdraw my previous comments. However, in relation to Rappaport’s claim that Kropotkin knew Lenin and attended sessions of the 1907 RSDLP congress in London, I stand by what I wrote. In her comment, Rappaport says, ‘I find it perfectly plausible that Kropotkin as a major Russian exile and political celebrity would have been invited to the congress.’ It is, of course, difficult to prove that something did not happen, but I think the evidence at least casts serious doubts on this idea. In the Protocols of the 5th Congress of the RSDLP (available in the Archives of the CPSU), the list of delegates and visitors to the congress (pp. 651-58) does not contain Kropotkin’s name, and the search function (which is pretty reliable – I did test it) reveals no references to Kropotkin in the entire 900-page document. Moreover, this Reminiscence of Lenin by Vladimir Bonch-Bruevich, which describes a meeting between Lenin and Kropotkin in 1919, does not suggest that they had any previous acquaintance. I would also contend that if a congress meeting had been held at the Jubilee Street Club, as Rappaport suggests (p. 156), it would have been mentioned in Rudolf Rocker’s The London Years or another work on Jewish socialist London, but I have come across no such references.

I think countering this sort of evidence requires more reliable sources than Rappaport provides. In her book, she cites E. T. Woodhall’s Secrets of Scotland Yard, a policeman’s memoir published in 1936 (this, incidentally, is the book that does not appear to have a full reference). Woodhall’s story that Kropotkin introduced him to Lenin outside the Jubilee Street Club before a session of the congress (Rappaport, p. 157) is a good one, but on its own it hardly constitutes firm evidence. To me it rather smacks of an embellishment, the author succumbing to the temptation to present himself as a witness to history in the making, instead of sticking to the mundane reality. Rappaport’s statement that ‘reports of the congress [in the British press] all had focussed on Gorky, as well as Plekhanov, Trotsky, and Kropotkin’ (p. 168) does not seem to be backed up with a specific reference, although the following sentence cites a newspaper article about Gorky. I might be persuaded by multiple articles referring to Kropotkin’s presence, but if he is just a name on a list (even on more than one list), I would suggest it is as likely to be an indication of sloppy reporting as anything else. Can we assume that the average journalist knew enough about the nuances of Russian revolutionary politics to be able to distinguish between different factions? Or did they just throw in names their readers were likely to recognize? I can’t prove this, obviously, but I think there is room for scepticism.

Finally, Rappaport provides a reference in her comment to my post to the Great Soviet Encyclopedia of 1979: ‘He supported the Revolution of 1905–07 and spoke out against the punitive policy of the tsarist regime. As one of a small number of Russian émigrés, he was a guest at the Fifth (London) Congress of the RSDLP in 1907.’ I would question whether this is an entirely reliable source, especially as no evidence is provided. One thing I’ve discovered recently is the extent to which prominent revolutionaries from outside the Bolsheviks (not the Mensheviks – they remained beyond the pale) were at various points co-opted into Soviet thinking, both in attempts to conceptualize the revolutionary experience per se, and to bolster the historic legitimacy of the Bolshevism in relation to a period when it was very much a bit-player in the revolutionary movement. James Goodwin’s Confronting Dostoevsky’s Demons: Anarchism and the Specter of Bakunin in Twentieth-Century Russia (New York: Peter Lang, 2010), pp. 1-8 and passim, addresses Bakunin’s legacy, as its title suggests, but I believe a similar thing happened with Kropotkin, as the other major Russian anarchist theoretician. The quotation seems to me to have that legitimizing function – if someone as prominent as Kropotkin was there, it must have been important. Again, I don’t have any proof, but neither does this reference constitute proof.

Everything I’ve ever read about Russian anarchists and socialists prior to the revolution (and even after it) suggests that they operated largely in separate spheres, adhering to different ideologies, and did not make common cause with each other; it was very much not a case of my enemy’s enemy is my friend. For this reason as well, I think it unlikely that Kropotkin attended the RSDLP congress. Others may disagree, but I don’t think that the evidence for such a meeting taking place is strong.

Blogs and academic publishing

This week has seen the launch of the Russian History Blog, a collaborative project that has already featured, among other things, a review of the Gulag escape film The Way Back, addressing questions surrounding the authenticity of the book it is based on, Slavomir Rawicz’s The Long Walk, and a discussion of a very significant photograph of a Gulag cemetery. It looks as though it’s going to be interesting and I very much welcome the initiative as a contribution to open access publishing. I would dispute Steve Barnes‘s assertion that most peer reviewed academic journals lie behind a paywall ‘of necessity’. Even though I participate in it (of necessity), I think the present system of academic publishing is outdated and persists for a number of fairly dubious reasons (including inertia and vanity, as Dan Cohen has pointed out), and that it actively undermines the proper dissemination of knowledge. The widespread and growing assumption that the arts, humanities and social sciences are irrelevant is fuelled by the perception that academics are only interested in talking to each other (as this rather fatuous article by Nick Cohen shows), and that is not going to change while the major forum for publication of new research is one that is generally only available to other academics via institutional subscriptions. Why do we support a system that limits our readership in this way? Do academics think that nobody outside the academy deserves to read their work? Or are they actually scared that nobody else would be interested? If we want to show that what we do is significant, we need to abandon pretensions to exclusivity and enter into a proper open dialogue with people other than our colleagues. The only way to do that is to rethink the system. Blogs are clearly not the only answer, but they can (and do) contribute to the process of reform, and treating them as a mere side-show compared to the serious business of ‘proper’ academic publishing in traditional peer-reviewed print-based journals isn’t going to get us very far. In any case, we have to question whether some of those journals will survive in the current climate – university libraries will be cutting subscriptions, and support from funding bodies is also going to be under threat – so we may be forced to find alternatives whether we like it or not. Open access peer reviewed journals such as Digital Humanities Quarterly show that a paywall is not a necessity. Shouldn’t we be working towards making that model the norm rather than the exception?

Top Ten Murders in Russian Literature

This is the first in a new occasional series in which I’ll look at different aspects of Russian literature through a ‘Top Ten’, and hopefully give people a few reading ideas. My main rule is that writers may only have one entry in any given list. Which makes my first subject slightly trickier than it might otherwise have been…

10. Babel, ‘Salt’ (1924). I generally think Babel was fascinated with violence in a way I find hard to stomach, and murders are ten-a-penny in Red Cavalry, but ‘Salt’ is unusual. Taking the form of a letter to a newspaper, the writer Nikita Balmashev, a ‘soldier of the revolution’, describes a woman gaining protection from rape on a train during the civil war by disguising a bag of salt as a baby. When he discovers the deception, he throws her off the train and shoots her. The ambiguity lies in the narration; the Bolshevik slogans spouted by the semi-literate Balmashev seem to question the violence rather than endorse it. Russian text

9. Shalamov, ‘On Tick’ (1956). Kolyma Tales is full of violent death, but few are so shocking as the first murder we encounter, in the second story of the collection, made all the more striking by the apparently benign fashion in which the story begins, with its clear allusion to the opening line of Pushkin’s ‘The Queen of Spades’. The subsequent murder of a political convict by a criminal for the sweater he refuses to hand over immediately tells us we are in a different world, and the indifference of the narrator, whose only comment is, ‘Now I’d have to find a new partner for chopping wood’, emphasizes the cheapness of life and the pitiless brutality of the Gulag. Russian text

8. Pelevin, The Clay Machine Gun (also known in English as Buddha’s Little Finger; in Russian Chapaev i Pustota, 1996). In the part of the novel set in the immediate post-revolutionary period, Pyotr Pustota [Void], strangles the Chekist Von Erner, an old school friend who is trying to shoot him. The murder has strong echoes of Crime and Punishment that are emphasized in the following scene of the ‘literary cabaret’ featuring a ‘little tragedy’, titled Raskolnikov and Marmeladov. Pyotr, who has taken Von Erner’s Cheka identity, Fanerny, performs a revolutionary poem and ends it by shooting at a chandelier. It’s here that he meets Chapaev, and the rest, as they say, is history. The novel as a whole is patchy – Pelevin was a better short story writer than novelist in those days – but these scenes are absolute genius. Russian text

7. Chekhov, ‘The Murder’ (1895). Rival forms of religious fanaticism in a peasant family destroy all sense of empathy and compassion and finally lead to a brutal murder, although the motive is subsequently assumed to be financial. This is the only story Chekhov wrote that directly relates to his visit to Sakhalin Island in 1890 – the final scene, in which one of the main characters finally rethinks his faith, is set in the penal colony there. But the story is perhaps most memorable for the startling images of the bloodstains in the aftermath of the attack – on the perpetrator’s white neck scarf, on the potatoes. Russian text | English text

6. Zamyatin, ‘The Flood’ (1929). A childless couple take in an orphaned young girl, only for her to usurp the wife’s place in her husband’s bed, with murderous consequences. A tale of jealousy and revenge against the backdrop of post-revolutionary Petrograd and the catastrophic flood of 1924, with echoes of both Crime and Punishment and Lady Macbeth of Mtsensk. Russian text

5. Pushkin, ‘The Queen of Spades’ (1833). This should perhaps be higher up my list, but in fact it’s not (quite) a murder; the countess dies when Hermann is trying to persuade her to reveal the secret of the cards, but whether she dies of fright or would have keeled over anyway is unclear. It’s here rather because it acts as the ‘mother’ of all Russian murder stories – at least three other entries on the list allude to it in one way or another. Russian text | English text

4. Kharms, ‘The Old Woman’ (1939). An old woman walks in on the narrator, and promptly dies. So it isn’t murder at all – or is it? Subequent events leave room for doubt, but there’s definitely a sense of guilt. In any case, this tale of communal housing and the hapless tenant’s attempts to deal with the body without being infected with ‘corpse juice’ deserves to be here for its surreal treatment of the aftermath of the crime/non-crime. Russian text | English text

3. Tolstoy, The Kreutzer Sonata (1889). Whether you view this as a deranged misogynist diatribe or a proto-feminist critique of marriage as a form of socially-sanctioned prostitution, the narrator Pozdnyshev’s story of how he came to murder his wife because of his suspicion that she was having an affair is terrible and compelling. Is his compulsion to repeat the story, long after his release from prison, an attempt to repent, or to justify himself? Did Tolstoy really think he was presenting a moral argument? Russian text | English text

2. Leskov, Lady Macbeth of Mtsensk (1865). A bored housewife has an affair with a handsome young peasant, who eggs her on as she disposes of her merchant father-in-law and husband, and the young nephew who arrives to inherit the estate. An extraordinary picture of provincial obsession intertwined with magical motifs from the Russian folk tradition, including a highly significant cat…  Russian text

1. Dostoevsky, Crime and Punishment (1866). What else could I pick? Although the deaths in The Idiot, Demons, or The Brothers Karamazov could all have a place on this list, Raskolnikov’s murder with an axe of the old money lender and her sister Lizaveta defines Dostoevsky’s reputation; it represents the moment when his art is transformed by bringing together the novel of ideas he first experimented with in Notes from Underground and the gothic melodrama of popular fiction. Russian text | English text

Four short links: Russian oddments

1. Hermitage cats. For over 250 years – with a break during the siege when they sadly all perished – the Hermitage has been home to an army of 50 or so cats, and every year the museum holds a Cat Day in March with lots of cat-related events to celebrate the Winter Palace’s most important residents.

2. Abandoned Mayan statues in Petersburg. Exactly what it says on the tin. I don’t know whether this is a hoax or not – it has the feel of one – but it’s a good story anyway.

3. The Museum of Anti-alcohol posters. Overcoming drunkenness, Soviet style, with some very entertaining images.

4. Interplanetary revolution. A novel plan to export communism from 1924. At least partly satirical, I think, and not only against the capitalists – the image of Lenin as man-in-the-moon suggests to me a critique of the beginnings of the cult of personality – and possibly the strangest bit of film I’ve ever seen. A little more on it can be found in this review.

Russians in London: the anarchist threat

For my final post in the series (for now), I want to discuss events rather than individuals. As a couple of my recent posts have suggested, by the end of the nineteenth century, the nature and number of Russian visitors to, and settlers in, London had changed considerably. It was no longer the preserve of the elite, either financial or intellectual. A number of high-profile socialists who fled the Russian Empire from the early 1880s onwards did visit or stay in Britain, but what was significant was that this coincided with the beginnings of mass working class, mainly Jewish immigration escaping the appalling conditions and restrictions in the Pale of Settlement (see An Appeal to Public Opinion, pp. 10-16); roughly 30,000 arrived between 1881 and 1891 (Fishman, p. 135). This was, of course, no coincidence. The assassination of Tsar Alexander II in 1881 led not only to the crack-down on socialist groups that saw many radicals imprisoned or sent into exile in Siberia, but also provided the excuse for pogroms and the escalation of the official policy of anti-Semitism: the Jews were, unsurprisingly, blamed for the murder of the Tsar in many quarters, and thereafter it continued to be highly convenient for the Russian government to conflate Jews and socialists. A similar conflation happened in Britain; the Russian monarchy may have been severely unpopular (remember that the British government did not dare offer refuge to the Romanovs after the revolution), but that did not mean there was any rush to embrace its opponents or victims, particularly if they were Jewish. The arrival of Jewish refugees in large numbers was not the first incidence of mass immigration in Britain, but it was perhaps the first of the media age, and popular opinion decrying the threat to the British way of life posed by this influx and, in particular, to British jobs (Appeal, pp. 28-9) seems depressingly familiar.

At the same time, there was socialist and anarchist activity among immigrants from Eastern Europe, for fairly obvious reasons. It reflects the growth of labour and working class movements at the time, and the fact that new arrivals, whatever their profession or status at home, usually found themselves destitute and had to turn to sweatshop work to survive; ‘badly paid and half-starved’ and living in an ‘unsavoury part of London’ that had once been a ‘notorious criminal quarter’ (Rocker, pp. 26-7), the newcomers provided a ready audience for the activists and propagandists who, after all, shared their language. These activities undoubtedly involved a good deal of agitation and protest, but they were a considerable distance from the bomb-throwing outrages of popular imagination, and were far more concerned with education and welfare. Fishman and Rocker both give interesting accounts of the many clubs, organziations and publications around Whitechapel at this time.

But the largely mundane reality never made a very good story, so it was perhaps to be expected that the most tenuous links to more sensational events were milked to the extent that they created the presumption of a connection between Russians and Jews, anarchism and violent criminal activity. Whether they expressed a genuine fear of ‘aliens’ or they were an attempt to manufacture such a fear, they became a firm part of popular East End lore that persists to this day. One of the most significant contributions to this was the Jack the Ripper case. I don’t intend to rehearse all the angles here, as there is more than enough space devoted to it on the internet as it is, so I’ll just stick to the relevant details. Firstly, most of the main police suspects at the time were Polish Jews. One could be generous and suggest that the large Jewish population around Whitechapel was just the most obvious place to look for perpetrators. Or not. In any case, after the second murder, of Annie Chapman, whose body was found on 8 September 1888 at the rear of 29 Hanbury Street (Fishman, p. 58), a riot was threatened when,

the crowds who assembled in the streets began to assume a very threatening attitude towards the Hebrew population of the District. It repeatedly asserted that no Englishman could have have perpetrated such a horrible crime as that of Hanbury Street, and that it must have been done by a JEW – and forthwith the crowds began to threaten and abuse such of the unfortunate Hebrews as they found in the streets (East London Observer, 15 September 1888, cited in Fishman, p. 73).

The anarchist angle was also quickly established, when the body of the third victim, Elizabeth Stride, was found on 30 September 1888 in the yard of 40 Berner Street (Fishman, p. 162), the premises of the International Workingman’s Educational Association, founded in 1884 by the Society of Jewish Socialists (Berner Street, off Commercial Road, was renamed Henriques Street, and a school built at the turn of the century stands where the club once was). This was a well known meeting place for radicals, with a good deal of Russian-language activity, often in the form of amateur performances of plays by the revolutionary Stepniak-Kravchinsky and his compatriots such as Feliks Volkhovsky (Fishman, p. 153).

Almost immediately, Russian/anarchist theories began to emerge. In the weeks after the Berner Street murder, stories surfaced concerning one Nikolai Vasiliev, who somehow managed to be both a ‘fanatical anarchist’ and not merely a member but a leader of the skoptsy (castrates) sect – a seriously improbable combination that looks like an attempt to fit in as many juicy details as possible. This article from the Jack the Ripper Casebook does a good job of unpicking the story; it seems highly unlikely that Vasiliev ever existed, and the involvement of the notorious right-wing Russian commentator Olga Novikova in disseminating information about him gives credence to the suggestion that the story was an attempt by the Tsarist secret police, the Okhrana, to discredit the revolutionary movement in London.

The other prominent Russian theory, naming a Russian doctor called Alexander Pedachenko as the culprit, came to light later, and is also significant because of its apparent pedigree. Supposedly a manuscript left by Rasputin claimed that he discovered ‘the truth’ through an Okhrana spy named Niderost, who was told it by an old Russian anarchist called Nikolai Zverev – the conversation between these two, for good measure, occurred at the Jubilee Street anarchist club; see the Jack the Ripper Casebook. The Gender Variance Who’s Who includes some further details which place Pedachenko in the service of the Okhrana himself, but goes on to make short work of the story as a whole. Nevertheless, it’s an effective contribution to the myth, certainly more so than Aleister Crowley’s claim that Helena Blavatsky was the Ripper – everyone’s favourite theosophist may have been a bit odd (though not as odd as Crowley, obviously), but the accusation just seems a bit random. A real theory of Russian involvement has to be both an anarchist and a government conspiracy.

Fast-forward twenty-odd years to the Houndsditch robbery of December 1910 and Sidney Street siege in early January 1911 and not much has changed. Again, I’m not going to go into all the ins and outs as plenty of ink has been spilt of the subject, but just want to examine some of the myths that have grown up around the case. For more details of the affair as a whole, this article from the Guardian marking the recent hundredth anniversary of the siege is a succinct and sensible account; this article from the Manchester Guardian on 4 January 1911 gives an interesting contemporary eye-witness perspective; and this amazing early Pathe newsreel is well worth a watch. There is currently an exhibition about the siege at the Museum of London Docklands, but I haven’t managed to visit it yet. The Independent has a picture gallery feature on the exhibition.

There is no doubt as to Russian(ish) – in fact probably Latvian – involvement in the original attempted robbery in Houndsditch that resulted in the murder of three policemen. According to most reputable sources, the man who fired the fatal shots but was caught in the gunfire himself and later died was Poloski Morountzeff (also known as George Gardstein), and the other men directly involved in the robbery, who later died in the siege, were Fritz Svaars and Josef Sokolov. Beyond this (and even these identities and their involvement are disputed in some quarters), misinformation and confusion quickly builds up.

The first thing to note in that despite the siege’s reputation for being a seminal event in Jewish East End history (The Cable’s recent commemorative edition is a case in point, this being the magazine of the Jewish East End Celebration Society), there’s not only no evidence that any of the main players were Jewish (Morountzeff was found to be uncircumcised; Rogers, p. 54), but there wasn’t even much assumption of Jewish involvement at the time. To be sure, there was the hysteria one would expect about aliens and rumblings to the effect that honest English robbers didn’t go round shooting policemen, but very little of this seems to have been openly anti-Semitic. Rogers highlights one piece of doggerel published on Christmas day in The People:

But I think it’s time once more
to get rid of the cursed breed
Of alien Jews who seem to have been
the author of the deed.
Remember Tottenham! Foreign Jews
were the coward murderers there,
And it’s pretty certain that aliens held
the guns on the Houndsditch stair.

But he notes that this led to a flood of protest from Gentiles as well as Jews, and also points out that it was common for East European criminals to adopt Jewish identities to put the police off the scent at home (p. 70).

Secondly, although the gunmen were assumed at the time to be anarchists or revolutionaries, and have habitially been described as such ever since, the evidence for this is weak to say the least. Some of them had frequented the Jubilee Street club (although they weren’t members, and it had recently closed down), and Rocker states that the anarchist label was applied mainly because of the presence of copies of Arbeter Fraint in the room at 59 Grove Street where Morountzeff died, and the discovery during the investigation that he had been to Errico Malatesta’s Islington workshop (Rocker, pp. 116-8). But it seems clear that those involved were acting from personal not political motives, and that any apparent anarchist or revolutionary tendencies were – like their supposed Jewish identities – adopted for convenience rather than from conviction (see Rogers, pp. 193-4).

Memorial to Charles Pearson, the firefighter who died following the Sidney Street Siege

Then there’s the question of Peter the Painter: revolutionary, leader of the Houndsditch gang, and miraculous escapee from the siege at 100 Sidney Street. His real name was Peter Piatkov or Piaktov, and he was born in Pskov in 1883 (Rogers, p.167). In fact, beyond a vague acquaintance with one or two of the perpetrators, there is nothing whatsoever to connect him to the affair (this doesn’t stop the Daily Mail fulminating against him as the ‘Siege of Sidney Street killer‘ as recently as 2008), or even very much evidence that he was a revolutionary at all. But the absence of evidence is always the best evidence for conspriracy theorists, and this is where the idea of Russian government involvement comes in. Rocker – who is normally level-headed but accepts without question that Peter the Painter was part of the plot – dismisses the idea that Morountzeff was a Russian police agent, but deems it much more likely that Peter was (p. 122). He goes on to say that Peter resurfaced in the Cheka after the revolution. If this was the case, it would not be the only instance of an agent changing sides, but it seems to be the result of a confusion with another figure altogether: Jacob Peters. Peters was a cousin of Fritz Svaars, at best a peripheral figure in the plot, who was tried for his involvement but acquitted (Rogers, pp. 191-4). Apparently much more serious-minded than his cousin, he was a Social Democrat and participated in revolutionary propaganda in London. He returned to Russia after the revolution and became a senior figure in the Cheka, as this article by the American journalist Louise Bryant confirms.

I suspect it is the Cheka connection, and the spurious identification with Peter the Painter, that has led Donald Rumbelow to claim Jacob Peters fired the lethal shots in the Houndsditch robbery (The Cable, p. 17; his book The Houndsditch Murders and the Sidney Street Siege was republished in 2009). Rogers dismantles this theory fairly convincingly (pp. 209-11), but it’s interesting for what it suggests about assumptions about Russians. Russian revolutionaries can’t, it seems, simply be revolutionaries (we saw this already in the 1850s with the claims that Bakunin was a Tsarist agent), and Russian criminals can’t simply be criminals; they must all have secret agendas and hidden identities, and be part of a government or anti-government conspiracy – preferably both. The Jacob Peters theory shows that suspicions of Russian political activities persisted regardless of who was in power when – the hint is clearly that it was a Bolshevik plot, not simply a crime committed by someone who later became a Bolshevik. And nor is this the most outlandish such theory; that title belongs to the claim that Stalin masterminded the entire Sidney Street affair, funded by the Freemasons, natch. I’m not going to provide a link to that story because I think some people really shouldn’t be encouraged, but it’s not difficult to find.

The characterization of violent criminal activity as political when it involved Russians, like the assumption that the Ripper’s crimes must have been perpetrated by a Jew or a foreigner, dramatized the position of immigrants from Eastern Europe as other. Fuelled by sensational stories about nihilists in the news, and books about revolutionaries, such as Stepniak-Kravchinsky’s Underground Russia, and their fate in Siberia (see my previous post for a list of these), the image of Russians as daring conspirators gained currency long before the revolution. Meanwhile the Tsarist agents’ tendency to provocation meant that they too were seen as subversive; stories of Okhrana involvement in crime seem almost as common as those concerning anarchists, so that the state and its opponents are strangely identified with each other in the popular perception. In between them, of course, and suffering the consequences, such as the British government’s attempts to strengthen the laws against aliens, of which the proposal to deport Russian refugees highlighted in the Appeal was one, lay the mass of ordinary immigrants.

Russians in London will be returning later in the year.

Sources

The Committee of Delegates of the Russian Socialist Groups in London, An Appeal to Public Opinion: Should the Russian Refugees be Deported? (London: National Labour Press, 1916)
William J. Fishman, East End Jewish Radicals, 1875-1914 (London: Duckworth, 1975)
Rudolf Rocker, The London Years, trans. Joseph Leftwich (Nottingham: Five Leaves; Oakland, CA: AK Press, 2005)
Colin Rogers, The Battle of Stepney. The Sidney Street Siege: Its Causes and Consequences (London: Robert Hale, 1981)

Document: An Appeal to Public Opinion

In my last post, I referred to a political pamphlet from 1916, An Appeal to Public Opinion: Should the Russian Refugees be Deported? It was published by the Committee of Delegates of the Russian Socialist Groups in London in response to the threat to deport Russian immigrants who refused to serve in the British Army, and is a very powerful statement about the moral bankruptcy of the Russian autocracy and its persecution of Jews and radicals. Reading it makes it easy to understand why the Russian revolution happened.

The pamphlet is also relevant to my next post, the final one in my present Russians in London series, and as it is in the public domain but, so far as I have been able to ascertain, not easily available on the web, I have decided to publish it. You will find it in the new ‘Documents’ section at the top of the page (I envisage that there will be other documents I wish to publish in the future), or you can click here. I hope it will be of interest and use.