Читаем The Future Is History: How Totalitarianism Reclaimed Russia полностью

She "told them everything." It was the right thing to do, but when she found out that he had died, she spent all night crying. By this time, according to the poem, she was in the Gulag herself. By the end

of the poem it becomes clear that the heroine survived—and, in spite of all that happened to her, remained a true believer. The author despairs of reasoning with her.

You gave it all to the fight,

including that which cannot be given.

All of it:

the ability to love, to think, and to feel.

All of you, nothing spared— But how

do you live without your self?25

If this was the story of her grandmother—a claim Arutyunyan instinctively doubted—then her grandfather had once again been elided. The poem described the betrayal, but not the man who was betrayed. Maya finally told her daughter what she knew. Both of her parents had been revolutionaries, underground organizers in czarist Russia, fighters during the Civil War, and scholars after. They had met as students at the Institute for Red Professors, which had been formed to create a cadre of university instructors to replace those who were being exiled or arrested. This was around the time of Lenin's death and Stalin's rise to power. When Maya was a newborn, her parents were dispatched to Germany for a year to further their studies. When they returned, the Party assigned them to teach history in Leningrad. Soon after, Maya's mother, Anna Mikhailovna, denounced her husband publicly for his Trotskyist views— Arutyunyan had no idea what that meant, and Maya explained that he was opposed to Stalin, who he feared would establish the rule of terror. Then Anna Mikhailovna left for Moscow, taking little Maya with her. Maya never saw her father again, though he lived for another dozen years. He was arrested, exiled, arrested again, and finally executed, and in all that time he never named a name, never signed a false confession, and never wavered in his beliefs.

All of this sounded, suspiciously, like the sort of story Arutyunyan would have learned in school when they studied the lives of the

Bolshevik quasi-saints: all heroism and no human. Maya spoke about her mother in similarly epic terms. She was pure. She loved the Party and she loved her husband, and later, when she was a powerful woman, she always stood up for people who fell out of favor, always defended their Leninist credentials. Back in the 1920s, Maya said, her mother had been granted a visit with her jailed husband. Maya was unclear about whether the initiative had been her mother's or the Party's, but she knew that the goal of the visit was to tear Grigory Yakovlevich from his mistaken beliefs and return him to the fold of the Party of Stalin. He had been elated to see his wife, but the moment he realized what her true objective was, he asked her to leave.

Thus had Anna Mikhailovna lost her one true love among men. From that point on, she belonged to the Party only, body and soul. But in the mid-1930s, when Maya was about ten, Anna Mikhailovna was herself expelled from the Party, for mentoring a student whose dissertation was perceived to contain nationalist notes inconsistent with the then current post-anti-imperial line. She made a suicide pact with her best friend, who had also fallen into disfavor. She left a note: "The Party can live without me, but I cannot live without the Party." The maid walked in on her, spoiling the suicide attempt; the best friend was already dead. After that, a senior scholar stepped in, arranging for Anna Mikhailovna to teach history at a provincial secondary school. For years after that, it was Maya's grandmother who took care of her. After the war, however, Stalin decided that he needed a woman in the Central Committee, and Anna Mikhailovna was not only reinstated in the Party but flown right up the career ladder to the top.

Arutyunyan found this narrative unsatisfying. It sounded to her like not one but two bad plays: one about star-crossed lovers, the other about a man so heroic he could not be imagined. She had read enough by now to know that the system of torture, humiliation, and threats broke the best of the best and that the current generation was in no position to judge them.

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Джонатан Франзен — популярный американский писатель, автор многочисленных книг и эссе. Его роман «Поправки» (2001) имел невероятный успех и завоевал национальную литературную премию «National Book Award» и награду «James Tait Black Memorial Prize». В 2002 году Франзен номинировался на Пулитцеровскую премию. Второй бестселлер Франзена «Свобода» (2011) критики почти единогласно провозгласили первым большим романом XXI века, достойным ответом литературы на вызов 11 сентября и возвращением надежды на то, что жанр романа не умер. Значительное место в творчестве писателя занимают также эссе и мемуары. В книге «Дальний остров» представлены очерки, опубликованные Франзеном в период 2002–2011 гг. Эти тексты — своего рода апология чтения, размышления автора о месте литературы среди ценностей современного общества, а также яркие воспоминания детства и юности.

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