Russian Lit Throughout the Soviet

Russian Lit

Throughout the Soviet era in Russian history numerous artists and intellectuals came under fire for creating works that were contrary to or critical of the communist party. Additionally, at different times and under different rules, some writers and artists have found themselves on both sides of political debates -- they were seen as enemies of the party at one time, and advocates of it at another. Two particularly influential writers from twentieth century Soviet Russia are Alexander Solzhenitsyn and Boris Pasternak. Each of these authors contributed to both literary movements of their time and to political disputes and policies. Specifically, Solzhenitsyn expressed his interpretation of Soviet gulags under the rule of Stalin, and managed to publish this work during a literary and political "thaw" under Khrushchev. Despite the acclaim of Solzhenitsyn's work, he quickly found himself the subject of Soviet retribution for the critical and explicit nature of his book. Similarly, Boris Pasternak found himself the subject of a vicious campaign directed by Khrushchev for his foreign publication of Dr. Zhivago. Although both men's works of literature were officially banned by the state at some point, the notions published within eventually influenced the political minds and philosophies that came to dominate Russia.

Boris Pasternak took a unique view of literature by comparison to his predecessors in that he refused to overtly endorse or condemn the events of history -- most significantly, the Bolshevik revolution. On one level, this made his writing non-threatening to the communist party, but on another, it made is omissions of undeniable patriotism highly questionable in the views of party authorities. "While opportunists celebrated five-year plans, Stalin's wisdom, and official enlightenment, Pasternak refused to see literature as a means of mass communications and to compose topical and functional verse." (Slonim, 218). This perspective parallels that of his central character in his most famous work, Dr. Zhivago. Despite the tremendous amount of social upheaval and political strife portrayed in the novel, the prevailing theme neither condemns nor condones the epic events that molded Russia during the twentieth century. "Doctor Zhivago, because of its incredible originality, was often mistaken for a work with a hidden political message. It may sound paradoxical but the main point of impact of Doctor Zhivago is precisely the fact that it was written as a nonpolitical book." (Slonim, 228). This was a distinct deviation from the traditional literary interpretation of the Russian man as a political animal; driven by social ideals and philosophies. The apparent lack of a political message has been misconstrued as perhaps a masked criticism. Consequently, Pasternak watched both himself and his work become the foundations for conflicting political policies.

By contrast, Alexander Solzhenitsyn's most famous work, a Day in the Life of Ivan Denisovich, is very definitely a critique of Stalinist Soviet policies, although it stops short of formally questioning the underlying communist structures. What make both works similar are the attitudes of the main characters: Zhivago and Shukhov each attempt to make the most of what fate and history have to deal them, although both experience decidedly unfavorable fates. "Shukhov is a 'simple heart,' a beloved type in Russian literature from Turgenev to Tolstoy." (Slonim, 333). Solzhenitsyn's character simplistically seeks out the small and minimal pleasures to be found in his deplorable condition. Although the character portrayed was not deemed challenging to Russian authority, the conditions that Solzhenitsyn matter-of-factly depicts eventually came under scrutiny.

Switches in policy and practice have meant that some authors have their work published both openly and as samizdat literature, or that sometimes samizdats become public. Particularly from 1966, when more effective controls were imposed after Khrushchev's 'thaw,' there was a proliferation of samizdats." (Shaw, 120). This has become the case with both Pasternak and Solzhenitsyn's writings. For instance, when Pasternak initially sought to publish Dr. Zhivago in Russia it was declined:

When Soviet journalists declined to publish it, he passed it on to the Italian publisher Feltrinelli, who bought it out in Milan in 1957. This was not a deeply pondered challenge to the cultural monopoly, but the next year, when Pasternak was awarded the Nobel Prize in literature, he was subjected to a campaign of official vituperation at home and expelled from the Writers union." (Hosking, 555).