Three Sisters by Anton Chekhov (1901)

‘When you read a novel this kind of thing seems so trite and obvious…’
(The youngest of the three sister, Masha Prozorov, accurately commenting on this play)

‘Nothing ever works out as you want it.’
(Olga summing up the plays miserable defeatism)

Characters

The play represents snapshots, at roughly one year intervals, of the three sisters, their brother, their partners and friends, as their lives slowly unfurl in ways they never expected…

The Prozorov family

Introducing the three Prozorov sisters. Their parents are dead and they live in a house in a provincial town with their brother, Andrew. They were born and brought up in Moscow but moved to this (unnamed) provincial town (population about 100,000, p.182) eleven years ago when their father, Colonel Prozorov, ‘got his brigade’. The father who moved them there died one year ago.

Andrew is clever and aims to become an academic but also laments his laziness. Their father drove all the children hard (‘inflicted education on us’), forcing them to learn modern languages but, since his death, the pedal’s been taken off the gas. Apart from anything else, Andrew’s put on a lot of weight. In the first act Andrew declares his love for a local young lady, Natalia (Natasha). Natasha is 28, gauche and awkward: the sisters mock her for her clumsy dress sense (‘downright pathetic’, p.180).

Olga is the oldest Prozorov sister and assumes the role of matriarchal head of the family although she’s only 28. She’s a spinster and so, inevitably, wishes she had married. Olga is, also inevitably, a teacher at the high school, where she frequently fills in for the headmistress whenever he’s absent.

Maria (Masha) is the middle sister, 23 at the beginning of the play. She married her husband, the dull pedantic Latin teacher at the local high school, Kulygin, when she was 18 and just out of school. After five years of marriage she has, inevitably, grown tired of her husband. (Chekhov wrote this part for his wife, the Moscow Art Theatre actress Olga Knipper.)

Irina is the youngest sister and the play opens with celebrations of her ‘name day’ (she is turning 20) which is the pretext for half a dozen other characters to visit the household, mainly a bunch of soldiers from the local barracks, being:

The soldiers

Aleksandr Vershinin (42) – Lieutenant colonel who’s just been appointed head of the artillery battery. He knew the girls’ father in Moscow and reminds them that when they were little they called him the ‘Lovesick Major’. He is married to his second wife who’s mentally unstable and regularly talks about killing herself.

Baron Nikolaj Tuzenbach (29) – A lieutenant in the army and not handsome, Tuzenbach often tries to impress the youngest sister, Irina, whom he has loved for five years.

Captain Vasily Solyony – irritating man who continually makes bad jokes, keeps quoting refrains from songs, teases the other soldiers, sprinkles scent on his chest and hands.

Dr Ivan Chebutykin – 59-year-old army doctor, Chebutykin starts off as a fun, eccentric old man who enjoys his position as family friend. He is all courtesy and hand kissing, boasts of his own idleness, always has a newspaper stuffed in his pocket.

Minor characters

Ferapont – Doorkeeper at the local council offices, Ferapont is comedy deaf (‘eh?….what?…what d’ye say?’). Also given to blurting out random facts, usually about Moscow.

Anfisa – An elderly family retainer and former nurse, Anfisa is 81 years old and has worked forever for the Prozorov family. Natasha begins to despise her for her feebleness and threatens to throw her out but Olga rescues her, taking her to live at Olga’s teacher’s flat.

Unseen characters

The play has several important characters who are talked about frequently but never seen onstage. These include Protopopov, head of the local council and Natasha’s lover; Vershinin’s suicidal wife and two daughters; Kulygin’s beloved superior the headmaster of the high school, and Natasha’s children (Bobik and Sofia).

Act 1

It’s 5 May, one year since their father died and, coincidentally, Irina’s name-day. The three sisters are sitting together and quickly give their backstories: Olga is marking her pupils workbooks and complains about being exhausted by long hours teaching at the school, while Irina has woken up in a wonderful mood on this lovely sunny day!

Family friends – the soldiers Lieutenant Tuzenbach and Captain Solyony, along with old Dr Chebutykin – walk in very casually. Irina, in her naive gushing way, praises the joy of honest work; Tuzenbach quickly establishes his hobby horse, which is that a great avalanche is coming which will sweep away all their rottenness and boredom (and, indeed, there was to be a revolution 4 years after the play was produced).

Dr Chebutykin boasts about how idle he is, never read a book since he left university, only ever reads the newspapers and pulls one out of his pocket.

Masha announces she’s going home to her boring husband, says she is so depressed, kisses Irina through her tears of unhappiness. This triggers Olga who starts crying.

Dr Chebutykin re-enters with a soldier carrying a silver samovar which he presents to Irina as a birthday present. This is, apparently, a crass gift so Irina, Olga and the soldiers all mock it. Chebutykin responds with self pity: ‘I’m an old man, a lonely, insignificant old man.’

Enter Vershinin, the new battery commander. When he mentions he’s from Moscow, the homesick sisters excitedly crown round, as he remembers, all those years ago, coming to visit their father, and remembers the three little sisters, and they enthusiastically revive their memories, turns out they even lived on the same road, Old Basmanny Road, and Olga and Masha start crying (as usual).

Someone mentions their dead mother and Masha laments that she’s already starting to forget what she looked like which prompts Vershinin to a bit of cheap philosophising, pointing out that everything they think important will pass away and be forgotten. Tuzenbach counters that maybe later generations will look back and find their lives admirable, after all there are no longer torture and executions etc (they will be revived by the Bolsheviks in just 16 or so years’ time).

Enter Andrew who the sisters praise for his ability on the violin, and at making picture frames, but then tease for being in love. Every time he opens his mouth Vershinin talks philosophically about the future:

VERSHININ: In two or three hundred years life upon this earth will be beautiful beyond our dreams…’ (p.182)

Tuzenbakh picks up on this and says they all need to work for this better future. (In his history of Russia Orlando Figes comments on a recurring feature of Russian culture being its belief in utopias here on earth, whether the peasants dreaming of owning their own land or intellectuals dreaming of a free society. That’s why even pre-revolutionary literature sounds the same as communist exhortations to build a better future, because it’s a thread that runs through Russian culture no matter what the political system. This thread occurs in several Chekhov plays.)

Enter Kulygin, the senior assistant master at the local school who Masha married when she was young and impressionable. he establishes his crushingly boring character by presenting Irina with a history of the school over the last 50 years which he has written. It includes a list of every pupil who’s passed through it in the previous 50 years! Irina points out that he already gave her this as a present, at Easter. Unfazed, Kulygin turns to offer it to Vershinin.

Kulygin delivers a pedantic schoolteacher lecture about how summer is coming, they’ll soon have to take up the carpets and take down the curtains. He puts his arm round Masha and tells everyone his wife loves him, but Masha irritatedly frees herself and moves away. When he reminds her they’re due to attend a little party at the headmaster’s later in the day Masha irritatedly says she’s not going.

Everyone goes through to the back room for lunch, leaving Irina and Tuzenbakh alone so that he instantly declares his love for Irina. She is so young and fresh, he says he feels a tremendous zeal for life, to work and struggle and this is mixed up with his love for her.

But Irina bursts into tears. A little incomprehensibly she says that life is like weeds strangling the three sisters. What’s wrong is they ‘don’t know the meaning of work’. An odd thing to say seeing as how Olga is exhausted by her work.

Enter Natasha wearing a bright green sash, to the horror of all the other female characters.

The big birthday lunch starts with the characters swapping chit-chat. Notable that all this irritates Andrew whose main wish is to be left alone.

Enter the minor characters second lieutenants Vladimir Rodé, who is given the habit of rolling his r’s, and Alexei Fedotik, who is given the hobby of photography i.e. he’s always snapping whatever situation he finds himself in.

Someone notices there are 13 at the table, they joke that this means someone at the table is in love. When Dr Chebutykin jokingly mentions Natasha’s name she gets up and runs out the room, followed by Andrew. He tells her how much he loves her and how happy she makes with the characteristically bluntness, with the straightforward statement which is so typical of Chekhov:

ANDREW: I feel so wonderful, my heart is so full of love and joy. (p.189)

He kisses her and tells her he wants to marry her.

Act 2

It’s a year later. Andrew and Natasha have gotten married and had a baby, Bobik, which Natasha endlessly fusses over. Since the scene is the same as Act 1, clearly Andrew and Natasha are living in the Prozorov family home. As the act opens it’s 8 o’clock at night. We find out in quick succession that Irina has now got a job, working at the post office, that Natasha is harsh on the servants, that it’s the carnival and some revellers have been invited to the house which Natasha inevitably disapproves off since it might upset precious Bobik.

Natasha goes on to say that Bobok ought to have Irina’s room and Irina move in to share with Olga. In other words, Natasha is trying to take over running the Prozorov household and Andrew is too weak/scared of upsetting her, to intervene. Natasha leaves, the old servant Ferapont enters. He’s brought some papers from the council which triggers Andrew to give us his backstory, in that characteristically Chekhov way: this is that all his brave fantasies about becoming a university professor in Moscow, ‘a distinguished scholar, the pride of Russia!’ have been crushed and he’s ended up becoming secretary to the county council and his highest ambition is to be allowed onto the council itself.

He ponders the way that, if he were in Moscow he could drop into a restaurant for dinner and not know anybody there but somehow still feel part of the swing of things, whereas here in this provincial town, if he goes to a restaurant he knows everyone and everyone knows him but he still feels out of it.

He can tell old Ferapont all this because Ferapont is deaf and doesn’t actually hear him, instead telling some inconsequential stories told by a recent contractor from Moscow to the council.

Andrew stretches and exits to be replaced by Masha and Lieutenant-Colonel Vershinin. They are a bit flushed from a night out. She repeats the story that she married her husband when young and still scared of him. They both lament how boring this provincial town is, how everyone here is fed up with their wife, with their house, with their estate and with their horses. Moan moan moan.

Then Vershinin moans about his unstable wife, they had an argument this morning, and ends up telling Masha he has no-one but her, ‘You’re a wonderful marvellous woman, I love you love you love you’.

While Vershinin is prattling on Irina and Baron Tuzenbakh enter at another door. He is telling Irina how much he loves her, how he loves to walk her home from work every evening, how he’ll do it for the next ten or twenty years if she’ll let him. But Irina ignores him because she is tired. We know this because, with Chekhovian lack of subtlety she says it six times.

The two couples spot each other and start a general conversation. Irina complains that working at the post office is not at all the intellectual adventure she romantically envisioned but just tiring drudgery (welcome to the world, baby). Irina and Masha share the news that Andrew has started going to some gambling club with the doctor and is losing heavily.

The doctor enters, combs his beard, sits and takes out a newspaper and the other characters laugh at this stereotypical behaviour.

At a loose end Vershinin and Tuzenbakh start off on their familiar hobby horse, the world of the future which will bring in a new and happy life. As per my citing of Orlando Figes’ point about the  ubiquity of utopian thinking in Russian culture:

VERSHININ: Two or three hundred years, or a thousand years if you like – it doesn’t really matter how long – will bring in a new and happy life. We’ll have no part in it of course, but it is what we’re now living for, working for, yes suffering for. We’re creating it and that’s what gives our life its meaning and its happiness too… (p.197)

The good life is always round the corner. Of course this is the deep Russian mentality which the communists exploited throughout the Soviet era. Just one more five-year plan, comrade! All these sacrifices we’re making are for the future, it is people of the future who will benefit from our misery, our sacrifices, our starving and gulags and imprisonment. So:

VERSHININ: Our business is to work and go on working and our distance descendants will have the happiness that’s going…I won’t have it but my children’s children may. (p.197)

Anyway, Tuzenbakh completely disagrees. Forget all this ‘happiness in the far future’ stuff. our job is to be happy today! What if he’s happy right now! Masha enters with a third point of view which is life is meaningless without a point or purpose.

MASHA: What’s the point of it all?…Man must have a faith or be trying to find one otherwise his life just doesn’t make any sense…Either you know what you’re living for or else the whole thing’s a waste of time and means less than nothing. (p.198)

This is, maybe, the existentialist frame of mind which dominated so much continental thought and literature in the twentieth century but is obviously wrong. It is nostalgic for ‘faith’, it believes there’s a God-shaped hole in our hearts etc etc. But if there is no God and never was one and all faiths are psychological fantasies, then better to live in truth, face and overcome and be happy with who we are and the world we live in and the conditions on which we live in it (frailty, contingency, illness, accident) and so make the best of every day. Freud’s view in his little essay on transitoriness.

After reaching no conclusion, as discussions like this never can because there is no conclusion to an unnecessary question, to a question framed using invalid concepts (God, faith, meaning) the conversation collapses into general banter with the doctor inconsequentially pointing out facts in his newspaper, the junior officer Fedotik has brought Irina a box of crayons. He shows her a different type of patience (with cards). Servants bring in a samovar to prepare tea… It’s more like a youth club than a family home, the way in each scene this main room fills up with ten or more characters.

The room disintegrates into people saying things to themselves, continuing their hobby horse lines of thought, dialogue criss-crossing over others… Vershinin  has another bit of gloomy philosophising:

VERSHININ: We have no happiness. There’s no such thing. It’s only something we long for. (p.200)

But the psychological basis of this view is revealed seconds later when he is handed a note which has been sent from his daughter to say his wife has taken poison again so he has to go in a rush, just time to tell Masha what a splendid marvellous woman she is…Leaving Masha in a filthy mood because she is in love with a man who is tied to a maniac, which explains why she (Masha) now wanders round the room losing her temper with everyone, telling off the servant Anfisa and scrambling the cards Irina was playing patience with.

Tuzenbakh carries a decanter of brandy over to Solyony and says they must make it up but Solyony says there’s no ‘it’ to make up before admitting that he’s alright when with one other person but in larger company feels tense and comes out with boorish and rude comments.

Tuzenbakh announces to several people that he’s resigning his commission because he wants to work, to do good honest work, he bets peasants sleep like logs after a good day’s labour. What an idiot. The Tolstoy view that authenticity is down among the mindless labouring peasants.

Solyony and the doctor get into a pointless argument about escalopes and shallots.

Tuzenbakh, Andrew and Solyony get into a pointless argument about how many universities Moscow has.

Tuzenbakh sits at the piano and starts to play a waltz, Masha dances by herself singing made-up words.

God these people really need to get lives.

As if to confirm that view Natasha enters and tells them they’ve all got to go because her baby Bobik is ill. Also it is announced that the promised carnival revellers will not now be coming to the house – for the sake of the baby, of course. All the other characters say goodbye and make various exits, all grumbling about Natasha, some saying it’s her that’s ill, mentally ill.

Leaving just Andrew and Dr Chebutykin who have obviously made a plan to go to a gambling club again tonight. Chebutykin admits that he was always in love with Andrew’s mother. Andrew takes this with surprising indifference because what he really wants to say is that marriage is rubbish (it’s clear that after just one year he’s had enough of small-minded but bossy Natasha). Yes but loneliness is a terrible thing, Chebutykin replies.

They exit whereupon there’s knocking at the hall door. It’s the carnival revellers who were promised a reception here. Irina tells the maid Anfisa to tell them there’s nobody home. At that moment Solyony enters, is surprised the carnival revellers are being turned away but, finding Irina by herself, takes the opportunity to tell her how much he loves her, ‘My happiness! My joy!’ (p.205) Unsurprisingly Irina very coldly tells him to shut up and go away, at which Solyony says he shall have no rival.

SOLYONY: By God I mean it, if there’s anybody else I’ll kill him! (p.205)

Enter Natasha with candle checking all the doors are shut. She imagines her husband is in his room reading so doesn’t look in, then encounters Irina and Solyony.

Natasha takes this opportunity to suggest to irina that she vacates her room and moves in with Olga to make way for precious Bobik. This is such an outrageous suggestion that Irina doesn’t at first understand her and then the doorbell goes. The maid comes to tell Natasha that it’s the leader of the council, Protopopov. Natasha switches from trying to ease Irina out of her room to giggling girlishly that Protopopov has come to take her for a spin in his sleigh and skips out. It’s pretty obvious that Natasha is infatuated with / having an affair with Protopopov.

Enter the oldest sister, tired Olga, and the boring schoolmaster Kulygin, obviously arriving from work, and they quickly tell us it’s because they’ve been attending a school meeting. When they quiz Irina, Irina says she’s too tired to talk. Olga announces that she feels ill with fatigue. Vershinin comes in, says his wife has stabilised after her latest suicide attempt and invites Kulygin to go somewhere with him but Kulygin completes the trio of characters saying he’s too tired.

Well, since there’s no party (the carnival people being turned away) both Vershinin and Kulygin say they’ll be off then, and take their leave of the two sisters (Olga and Irina).

Olga heads to bed leaving Irina alone onstage just long enough for Natashe to re-emerge with her outdoor clothes on and obviously off for a spin, a snog and maybe something more with Protopopov.

When she’s gone there’s only Irina onstage, with the weight of all these issues on her shoulders:

  • the wife of her brother, Andrew, is being unfaithful to him
  • in despair Andrew has taken to staying out late and gambling away the family patrimony
  • her older sister (Olga) is a sad old spinster
  • her second sister (Masha) is bored of her dull husband and wants to have an affair with Vershinin but Vershinin is tied to his suicidal wife and two daughters
  • she, Irina, is loved by dashing (if not handsome) Tuzenbakh but is the subject of unwanted attentions from the vile Solyony

It’s no wonder, then, that she ends the act with the play’s well-known refrain:

IRINA: [alone on stage, with intense longing]: Moscow, Moscow, Moscow!

Act 3

About a year later in Olga and Irina’s room – a clear sign that Natasha is taking over the household, as she asked them to share a room so that Bobik could have a separate room.

But we’re thrown straight into a high stress situation. it’s 3 in the morning, there’s a fire raging in the town, red from the fire can bee seen through the windows along with the sound of fire engines in the road outside.

People are running in and out in panic. Old Anfisa wants clothes for people who’ve taken refuge with them which turns out to be a lot of people: ‘the Kolotilin girls’ as well as the entire Vershinin household, Baton Tuzenbakh, the doctor, Fedotik. Obviously Olga and the nanny, Anfisa, both complain of being tired out.

Natasha enters and is only concerned that a) her beloved children are sleeping safely and b) tell-tale sign of self-absorbed narcissistic women everywhere, checks herself in the mirror and worries that she’s put on a bit of weight. In the middle of a huge fire and crisis when people are dying.

With similar selfishness she spots the 80-year-old servant Anfida sitting down and says How dare she sit in here presence? and orders her out. This, Natasha’s cruelty and the harsh words, make Olga cry which makes Natasha soften to her and kiss her. But they are mutually incomprehensible. Natasha thinks Anfisa is too old to work and so should be sent back to her village; Olga says she has served the family loyally for 30 years and so should be allowed to stay at which Natasha loses her temper and tells Olga that she runs the household.

Kulygin comes in with more news of the fire and to announce that he is, of course, tired out. These characters all need to take more exercise and multivitamin pills!

Enter the doctor who’s got very drunk. He talks to himself morosely, lamenting that he’s forgotten everything he ever knew about medicine and the other day, Wednesday, killed a woman. He hates himself, says he’s barely even human.

Just as in the previous acts the other characters drift in, Irina, Tuzenbakh, Vershinin. Tuezanbakh is in civilian dress and praises the soldiers for saving the day and the town. He says people are suggesting a concert to raise money for people who’ve lost their homes and says Masha must play at it.

Out of nowhere the doctor drops a valuable clock he’d been looking at and it smashes to pieces. Irina says it belonged to their mother but drunk Chebutykin rambles on saying what if he didn’t drop it what if they just think he did, what if he doesn’t exist, what if none of them exist. then changing tack he blurts out that Natasha is having an affair with Protopopov and they all pretend not to notice, before exiting.

There’s a pregnant pause which Vershinin breaks by leaping in to describe his actions earlier that night namely grabbing his children out of their house and the flames came closer. In his fanciful way, he wonders how much more his children will have to witness in their lives. (Well, if they’re 5 in 1901 they’ll witness Russia being trounced in the war with Japan, the 1905 revolution, the outbreak of war in 1915, the two revolutions in 1917, the Bolshevik coup and then the civil war lasting till 1922 or 3, millions dead from war, civil war and famine, then Bolshevik dictatorship leading to the collectivisation famines in the early 30s, the rise of the gulags and Stalin’s terror state, then the German invasion of 1941. Quite a lot, then.)

Continuing his theme he says that ‘in two or three hundred years’ people will lead wonderful lives…

Fedotik comes in to tell them his house has burned to the ground and he’s lost all his possessions, guitar, camera, everything.

Solyony enters but Irina tells him he can’t come in. He sprinkles himself with scent and Verishinin takes him into the dining room.

Tuzenbakh tells everyone how tired he feels before going on to kiss Irina’s hand and wishing she would come away with him. He reminds he how happy and optimistic she was on her name day i.e. the first act, but how somehow all the energy and optimism has been crushed. Rashly, he tells her that he would give his life for her.

Masha, exhausted of course, tells him to shut up and go away. This triggers her husband, Kulygin to tell her how much he loves her and has lovey every day of their seven years of marriage, but as schematically as in a masque or allegory she replies:

KULYGIN: I’m happy, happy, oh so happy.
MASHA: I’m bored, bored, oh so bored. (p.216)

Kulygin exists, leaving the Three Sisters alone.

Masha tells her sisters that Andrew has mortgaged the house and given the cash to his horrible wife but all four of them own the house so it’s unfair. Irina laments that Andrew’s gone to seed, lost all his ambition, once he wanted to be a professor but now he’s delighted just to get a place on the council. And his wife is having an affair with the head of the council, Protopopov, the whole town is laughing at him behind his back but he’s the only one who doesn’t know. It’s all too much for her and Irina bursts into tears.

IRINA: What’s become of everything, where’s it all gone? Where is it?… Life is slipping away, it will never, never come back again and we shall never get to Moscow… (p.217)

Once she naively looked forward to ‘work’ but after working at the post office she now works for the town council and hates it. She’s 23 and she’s shrivelled up, she’s thin and old. She’s sinking into a bottomless pit of despair. Why hasn’t she killed herself?

Olga, the spinster, advises Irina to marry, marry Baron Tuzebakh, he’s not very good looking but he’s a good man. Admittedly they were all upset when he resigned his commission from the army and turned up wearing civilian clothes – they just brought out how ugly he is.

Irina replies that she’s been waiting till they move back to Moscow, convinced she’ll meet her true love there. But now she’s coming to realise that was all a fantasy.

Masha takes the opportunity to confess that she’s fallen head over heels in love with Vershinin but Olga refuses to listen. Masha laments that life is not like a novel. In real life you discover that nobody knows anything and you have to find your own way through.

Enter Andrew in a bad mood and telling off Ferapont who’s only brought a message from the firemen asking if they can lay a hose through their garden to the river. Andrew realises it’s just the Three Sisters and suggests they have it out, this is an opportunity for them to tell him what their complaint is against him.

Masha goes out and Olga and Irina say they’re both too tired but Andrew insists on continuing. He delivers a massive monologue clearly fighting against his own bad conscience. Firstly, he insists his wife Natasha is a fine honourable woman and he loves her and he doesn’t know what they’ve got against her and demands they give her the respect she’s owed. Secondly, he thinks they somehow disapprove of the way he never became the university professor he wanted to be but he’s on the town council now and very proud of being a councillor and it’s an important job. Thirdly, he admits he’s mortgaged the house and used the money released to pay off his gambling debts which had reached 35,000 roubles but…but… the three sisters had annuities awarded them while he had no income, so…so…

Obviously he’s looking for their approval and forgiveness but neither Olga nor Irina say anything so he walks out.

The last piece of dialogue is Irina telling Olga that ‘their’ regiment is due to leave town. Oh what will they do without their soldiers, the only friends they have? As to Tuzenbakh, yes, alright, she’ll marry him.

IRINA: He’s a very good man and I will marry him, I will, I will, only do let’s go to Moscow. We must go, please! There’s nowhere in the world like Moscow. Let’s go, Olga, do let’s go!

Act 4

Act 4 is set in the garden of the Prozorovs’ house with the verandah just on the right. The regiment is leaving and our guys are saying their farewells. Tuzenbakh, Irina, Kugylin are saying farewell to Rodé and Fedotik who keeps telling everyone to stand still so he can photograph them. And then with a few more farewells, they part and walk away.

Dr Chebutykin announces he’ll be going with them but only for a year or so at which point he’ll retire and come back here to live off his pension.

Now the soldiers have gone Irina asks what was this fracas in town the night before involving Tuzenbakh. Tuzenback refuses to discuss it and walks off across the lawn and into the house so Kulygin tells Irina that objectionable Solyony encountered Tukenbakh on the boulevard, started picking on him until the Baron insulted him.

Irina shudders at the thought. She announces that she’s marrying Tuzenbakh tomorrow and then they’re moving to ‘the brick works’ [that Tuzenback is going to manage?] while she starts work as a teacher at the school and, she hopes, a New Life will begin. Although we, the audience, know that of course it won’t…

Irina has finally resigned herself to never going to Moscow so she’s going to stay here and make the best of it. But she does find it hard in the big house now that Olga’s been made headmistress of the high school and lives on the premises. But when she finally made up her mind to say Yes to Tuzenbakh she felt a revival of that old urge to work, work, work and now she’s almost looking forward to the future.

Masha appears to share with Dr Chebutykin how she feels that all their hopes have come to nothing. She was in love with Verishin but he’s leaving today and she’ll be back to being lumbered with boring pedantic Kulygin.

Andrew has been seen pushing a pram (with another baby in it?) presumably a symbol of his fall from the high ambition of becoming a world-renowned professor. Now he comes over and in turn asks about the incident on the boulevard the night before. Dr Chebutykin gives us a staggeringly significant new detail which he failed to mention earlier, when Irina was around, which is that when Tuzenbakh insulted Solyony, the latter challenged him to a duel and … that it’s scheduled to happen just about now, in the woods across the river (which we can see painted on the backdrop of the scenery). A duel!

Masha and Andrew all take it very lightly that the man their sister is engaged to is about to fight a duel. Instead of rushing to stop it or call the cops Andrew just feebly says it’s all very immoral. In a further development we learn that the duellists have requested Dr Chebutykin to attend on them!

Masha is disgusted with all this talk so walks away leaving Andrew to confide to Dr Chebutykin that he loves his wife, he loves her dearly, but sometimes he really doesn’t like her, she’s so bossy and vulgar. the doctor gives him the advice to put on his hat, pick up his stick set off walking and walk and walk and walk and never come back.

Enter Solyony and two of his seconds backstage. Solyony spots the doctor, walks over and tells him it’s time to go to the duel and they leave. Enter Irina and Tuzebakh. He tells her he just has to pop into town to, er, see some friends off. She knows he’s lying but wonders why (so she’s more or less the only character who doesn’t know about the duel). He tells her how much he loves her, that he’s loved her for five years, that she gets more beautiful every day…just a shame she doesn’t love him.

Irina cries and says yes, she doesn’t love him, she’s never loved anyone. Her heart feels like a grand piano that’s locked and nobody can find the key. I supposed it’s a scene of great poignancy because the audience strongly suspects Tuzenbakh is going to his death while his half-hearted fiancée knows nothing. He wants to say something mighty and significant, to sum up his love of life and her, but all he can think of is to ask her to ask one of the servants to put some coffee on for when he gets back.

Now, something has to fill the time it’s going to take Tuzenbakh to go and get in a boat, be ferried across the river to the forests beyond, find his way to the duelling place etc and so Chekhov gives Andrew, alone onstage, a massive speech asking where did it all go wrong leading into a long description of how awful this town is, how everyone is like everyone else, bored out of their minds, and are bringing up children who will be bored to death in turn. (Of course we latecomers know that Russians born around 1900 were fated to have anything but a boring life.)

The retainer Ferapont enters with some papers to sign so there’s some more business with reading anc complaining about these, before Andrew tries to cheer himself up by adopting the Verishin strategy of imagining what life will be like for his heirs two or three hundred years in the future. Hopefully their lives will be completely different.

He works himself up into such a state that Natasha leans out the window and yells at him to shut up. Which in turn wakes up baby Bobik who starts to cry and she turns her yelling indoors to tell him off etc. Stage business to cover Tuzenbakh’s journey to the duelling place.

Even more business follows when a couple of travelling musicians wander onstage and start performing. Olga tells the ancient nanny Alfisa to give them some money, which she does and they move on. This allows Anfisa to explain that although Natasha’s kicked her out of the house Olga has found a nice little crib for her at the school, so her story’s ending happily.

Enter Verishin who’s also leaving with the regiment and wants to say a private goodbye to Masha which is going to be difficult into the always hyper-busy Prozorov household. Olga asks him if they’ll ever meet again and he simply replies, No.

Masha enters and they have a short heart-breaking parting with a long kiss then lots of tears, then she won’t let him go but he extricates himself and hands her over to Olga. Kulygin enters, he saw some of this but tells Masha he forgives her and now they can go back to the old way of living which is, somehow, absolutely crushing.

Masha sings to herself the little song about a green boat which she has sung at moments of crisis throughout the play and that’s when a shot is heard in the distance.

The triviality continues. Masha’s anguish is made unbearable by the complete reasonableness and forgiveness of her husband who pulls out a fake moustache and beard he confiscated off a boy in class. Now he puts it on to make them laugh and Masha laughs then bursts into hopeless sobbing again. All her hopes for life have been utterly crushed.

Natasha arrives on the scene and it is clear how she has totally defeated the Prozorov family. She bosses everyone around, tells the maid to push the pram, criticises Kulygin for wearing the silly beard, says the minute Irina leaves the house she’s going to move Andrew into her room so he can scrape away on his violin and first thing she’s going to do is have the beautiful avenue of trees chopped down (anticipating the massacre of trees in The Cherry Orchard). She criticises Irina for dressing so plainly which, of course, reverses the sisters’ chiding of Natasha for dressing so gaudily at the start of the play.

They hear a military band in the distance as Dr Chebutykin enters in a hurry. He goes up and whispers in Olga’s ear. She says, No no it can’t be true. Irina begs to know and Chebutykin quite brutally tells her Tuzenbakh’s just been killed in a duel before wandering off, sitting down, taking out a paper and delivering his trademark line, ‘Well, it doesn’t matter anyway’ and then humming his stupid song’, Tarara boom di-ay.’

Now you might have expected a world-shattering howl of anguish and a long speech about the Injustices of Life but in fact Irina starts to weep quietly and just says, ‘I knew it’. Instead all three sisters are given a kind of collective last word as they speak in sequence, almost inn unison, almost with a musical effect.

And what they say is oddly, eerily cool and unmoved, a kind of vision of philosophical passivity, of how they must commit themselves to hard work and how this will bring about a better future. Did Chekhov in the slightest believe this or is it just a trope to thread throughout the play and, here, to end it with i.e an entirely aesthetic strategy? Or is is designed to convey the puzzlement, the bewilderment at life’s imponderability of the three sisters?

MASHA: Oh, listen to the band! They’re all leaving us and one has gone right away and will never never come back , and we shall be left alone to begin our lives again. We must go on living, we must.
IRINA: [puts her head on Olga’s breast]: What is all this for? Why all this suffering? The answer will be known one day and then there will be no more mysteries left, but till then life must go on, we must work and work and think of nothing else. I’ll go off alone tomorrow to teach at a school and spend my whole life serving those who may need me. It’s autumn now and it will soon be winter, with everything buried in snow, and I shall work, work, work.
OLGA [embraces both her sisters]: Listen to the band. What a splendid, rousing tune, it puts new heart into you, doesn’t it? Oh, my God! In time we shall pass on forever and be forgotten. Our faces will be forgotten and our voices and how many of us there were. But our sufferings will bring happiness to those who come after us, peace and joy will reign on earth, and there will be kind words and kind thoughts for us and our times. We still have our lives ahead of us, my dears, so let’s make the most of them.
[The music becomes fainter and fainter. KULYGIN, smiling cheerfully, emerges from the house with a hat and coat while ANDREW continues to push the pram with Bobik in it.]
CHEBUTYKIN: [singing softly]: Traraboomdeay, ley’s have a tune today. [Reads the newspaper.] None of it matters. Nothing matters.
OLGA: If we could only know, oh if we could only know!

Fates

Olga will continue as an unmarried head teachers.

Masha will continue to be unhappily married to Kulygin.

Irina has said she wants to persevere as a teacher.

Natasha is mistress of the family home, in charge of everything.

Andrei is stuck in his marriage with two children, unwilling and unable to do anything for his wife or himself.

The characters describe themselves

As I’ve pointed out it’s a trick or trait of Chekhov that, rather than have the audience deduce how they’re feeling from their dialogue or actions, he always has his characters declare it in the most straightahead, bluntest kind of way. Strikes me as the opposite of subtle:

IRINA: I’m in such a good mood, I don’t know why. (p.172)

MASHA: I’m down in the dumps today, I feel so depressed… (p.175)

VERSHININ: I’m more pleased than I can say, I really am. (p.177)

Similarly, he has them just come out and describe their backstories or situations with equal lack of subtlety:

VERSHININ: I have a wife and two little girls, my wife is in poor health… (p.183)

KULYGIN: My name is Kulygin and I teach at the local high school, I’m a senior assistant master. (p.183)

KULYGIN: I’m happy today. I’m on top of the world. (p.184)

RODÉ: I teach gymnastics at the high school here. (p.188)

Leave me alone

MASHA: Don’t talk to me then…leave me alone. (p.200)

ANDREW: Leave me alone, for heaven’s sake, leave me alone. (p.229)

Characters in all Chekhov’s plays continually ask to be left alone but no-one does leave them alone. Nobody can escape. They seem to live in these households of eight or so people who are constantly prying and spying and commenting on each others’ behaviour. The effect is very claustrophobic. They seem to be walking demonstrations of Jean-Paul Sartre’s well-known epigram that hell is other people.

Sssshhh, there’s somebody coming!

Chekhov’s houses are always very populous and, as someone or other is always declaring inappropriate love to someone else because they’re married or the other person’s married, I noticed the number of times when women (it’s always women) say things like:

MASHA: There’s somebody coming! You’d better talk about something else. (p.194)

And men have to reassure and cajole them:

ANDREW: Oh, they can’t see us, they really can’t. (p.189).

Hyperbole

Three (miserable) sisters:

IRINA: I feel as I’d gone out of my mind.

MASHA: I feel so depressed.

MASHA: Oh damn this life, it’s the absolute limit!

IRINA: Life has been choking us like weeds in a garden.

IRINA: Do you know I dream about Moscow every night? I feel as if I’d gone out of my mind.

OLGA: It really depressed me, actually makes me feel ill.

IRINA: Oh, it’s frightful, absolutely frightful. I’ve had as much as I can take, I just can’t stand it any more.

IRINA: I feel I’m losing touch with everything fine and genuine in life. It’s like sinking down, down into a bottomless pit. I’m desperate.

IRINA: I’m lonely and depressed with nothing to do and I hate my room…

MASHA: I feel I’m going to burst…

MASHA: I’ve made a mess of my life. I don’t want anything now.

Visions of the future

In ‘Uncle Vanya’ Dr Astrov is given a hobby horse subject completely separate from the action namely his concern for the ecology of forests. This gives him something to deliver speeches about for pages and which is, I think, designed to act as a relief from the characters’ obsessive self-centredness.

The same thing, structurally, happens in this play: Baron Tuzenbakh and Vershinin are both given the same talking point which is what life will be like for people in the future and what, looking back, they will think of the people of this time.

These subjects may or may not be relevant or interesting in their own right but, in dramatic terms, they’re part of giving all the characters identifiable, repeating tics or topics:

  • Solyonyi and his stupid jokes and splashing scent on himself
  • Dr Chebutykin and his pockets full of newspapers, but also his oft-repeated conviction that we aren’t really here and we don’t really exist
  • Rodé snapping away on his camera
  • Olga telling everyone how tired she is
  • Masha forever singing ‘A green boat by a curving shore’
  • Irina forever wishing they were off to Moscow

It sets the scene of the debate between Tuzenbakh and Vershinin where the two men propose their opposing points of view about the future, namely in the future everything will be great versus in the future everything will be exactly the same (p.197).

Thoughts

It’s complicated, isn’t it? Once the eight or so key characters are up and running they have all kinds of interactions. Onstage this may well work but, for me, there are two problems:

  1. the characters’ personalities are too schematic, they are given 2 or 3 tropes, tics or topics each and then trot them out like robots
  2. I suppose they’re put through their paces with admirable inventiveness (the town fire was unexpected) and yet, somehow, it all feels mechanical to me, like the parts of a Swiss watch, beautifully engineered, reliably ticking over, yet somehow pointless

Natasha’s victory

One of the many ways of looking at this complicated narrative is that Natasha wins. The bourgeois Prozorov sisters mocked her dress and manners at the start of the play but by the end Natasha is in complete, unquestioned control. She has outfaced and outwitted them all.

From this perspective the most notable thing about the Prozorov sisters, and four siblings, is how pathetic they are. To quote that great literary critic Donald Trump, they are losers. From this point of view all the rhetoric about work and finer futures and sacrifice and all the rest of it is the self-justifying excuses of people who lose.

Natasha doesn’t need any fancy ideas, she is notably uneducated, she goes with her instinct to dominate and control…and she cleans up, she wins, she triumphs. The triumph of the uneducated but unforgiving and determined working class over the feeble bourgeoisie was to be the subject of Chekhov’s final play – and, maybe, to be played out in the huge stage of Russian history less than a generation later…

Comparison with Waiting for Godot

The sense of stasis, of the characters being stuck in a situation they find hellish, kept reminding me of Waiting For Godot.

ESTRAGON:
Well, shall we go?
VLADIMIR:
Yes, let’s go.
[They do not move.]

Compare with:

IRINA: I esteem, I highly value the Baron, he’s a splendid man; I’ll marry him, I’ll consent, only let’s go to Moscow! I implore you, let’s go! There’s nothing better than Moscow on earth! Let’s go, Olga, let’s go!

They do not move.


Credit

Quotations are from the 1980 World’s Classic paperback edition of Five Plays by Anton Chekhov, translated by Ronald Hingley.

Related links

Related reviews

  • Chekhov reviews
  • Russian reviews

Kolymsky Heights by Lionel Davidson (1994)

‘Many tricky dicks walk the trail.’
(Jean-Baptiste Porteur on page 88 of Kolymsky Heights)

I saw this book in several second-hand bookshops before I picked it up for a pound imagining, from the stylish cover, that Davidson was one of the new young generation of thriller writers.

How wrong I was. Davidson was born in 1922 and published his first novel, The Night of Wenceslas, in 1960, the year before John le Carré made his debut – i.e. he is very much one of the old generation of thriller writers.

After Wenceslas Davidson published a novel every couple of years throughout the 1960s and early 70s until 1978 when he disappeared from view. After a gap of 16 years he returned with Kolymsky Heights, his last novel, which gained rave reviews.

Is it any good? What’s it about? Does it make me want to go in search of his other seven thrillers?

Kolymsky Heights

Kolymsky Heights is relatively long at 478 pages and you quickly realise this is because Davidson’s defining quality is a long, drawn-out and frustrating, round-the-houses approach.

We are introduced to a fusty old don in Oxford, Professor Lazenby. His secretary, Miss Sonntag, opens a letter from Sweden which turns out to be empty. Until the prof roots around in the bottom of it and finds some cigarette papers. These contain indentations. He calls in a pupil of his who now works in ‘Scientific Services’ and who, a few years earlier, had called on the Prof and asked him to do a little gentle spying – in fact more like ‘alert observation’ – when he was attending a conference in the Eastern Bloc.

Lazenby calls up this man, Philpott, to come and interpret the cigarette papers. They realise the bumps on the surface contain a message coded as a set of numbers. These turn out to relate to books of the Bible, giving chapter and verse numbers. By piecing together the fragmented quotes they arrive at a message which, in an elliptical way, refers to a dark-haired man from the north who can speak tongues and who the writer wants to visit him.

If you like crosswords, I think you’d like this book. Or if you’re partial to railway timetables. Precise hours and timings are given for everything, and become vitally important in the later stages of the book.

Philpott passes the message up to a level of the British security services where it is shared with the Americans. They have spy satellites patrolling the earth and photographing every inch of Russia, especially secret installations. Recent satellite photos indicate that a well-established camp in the heart of Siberia has had an explosion and fire, and shows figures tramping amidst the ruins. The guy in charge of monitoring this, W. Murray Hendricks, calls in a second opinion, a naturalist who confirms that… the figures walking around appear to be… ape-men! They have the stance of men but… their arms and legs are the wrong shape!

This chimes with the opening section of prose right at the start of the book, a (characteristically unexplained) preface which appears to be a message written from someone working at a Russian security base, writing to a colleague who is about to join him. It describes the way a baby mammoth was found deeply embedded in ice, was chipped out and transported back to the base, where it turned out not to be a mammoth at all but a human, a woman lying on her side, who had fallen into a crevasse along with some bags and a tusk, and was heavily pregnant (big and bulky with tusks – that’s what caused the initial mistaken diagnosis).

So we have learned that: a 40,000-year-old frozen pregnant woman is brought to a top secret Russian research base. Some time later, American satellite photos show ape-like men at a top secret Russian research base. Are we dealing with a 1990s version of The Island of Dr Moreau?

If we are, it takes a bloody long time to get there, because we are still with Philpott and Lazenby trying to interpret the coded and elliptical cigarette-paper message. Eventually it dawns on the Prof that the reference is to a dark-haired, native American from British Columbia, a man known by his clan name of ‘Raven’, a man he met at a scientific conference in Oxford some 15 years back, which had also been attended by some Russians.

About the Raven

The novel then switches to give us Raven’s complicated biography. Christened Jean-Baptiste Porteur, he was brought up in the matrilinear society of the Gitksan people in the Skeena river region of British Columbia, north-west Canada, before being dumped into the care of a local missionary. Porteur was taught English enough to excel in his studies but then ran away to sea for a few years. Eventually he returned to settled society and took up serious studies, becoming known as Johnny Porter.

Porter is a super-gifted linguist, one of the few people to be in a position to make academic studies of the families of languages spoken by the natives of the Pacific North-West from the inside. He publishes work on the subject, is awarded a PhD and academic prizes, but remains, nonetheless, a surly non-player of the academic game.

Now he comes to think about it, Prof Lazenby remembers getting really drunk with Raven and another man, a Russian research scientist named Rogachev, at a conference in Oxford years ago. This Russian, Rogachev, then disappeared off the grid some 15 years ago, rumoured to have joined some secret research facility. They have (through a series of deductions which I found too obscure to follow) decided that the man sending the cigarette messages must be Rogachev. And that he wants to talk to Raven.

So then the CIA are tasked with tracking down Johnny Porter and find him in a remote fishing village in British Columbia. Lazenby flies out there accompanied by Philpott who hands him over to a fresh-faced young CIA man named Walters. The CIA are now heavily involved. At least I think it’s the CIA. Langley is referred to (the world-famous headquarters of the CIA) but the agency itself is not mentioned explicitly. Davidson prefers to keep things shadowy and instead refers to ‘the plan’ which appears to be shared by the Brits and the Yanks.

They finally track down Porter to a backwoods cabin, and present him with all the evidence that Rogachev wants him to travel to a top secret Russian research base in deepest Siberia. In fact, its precise location is still unknown (I found this a little too obscure to understand: I thought they had satellite photos. Like most of the novel, these early passages required rereading to try and figure out what was going on, and even then I often gave up trying to understand the minutiae and just read on regardless.)

Raven becomes a Korean seaman

A vast amount of effort then goes in to describing Johnny’s trip by tramp steamer from Japan up into the Arctic Ocean.

As soon as he said yes to the mission, Raven (shall I call him Raven or Porter? Raven has more mystique) was taken to some kind of camp where he was trained in spying and spycraft.

This experience, which took several months, is not actually described in the book, simply referred back to as and when necessary. During his time in ‘the camp’, the surly, secretive multilingual academic Raven has been rather magically transformed into a kind of superspy, a man who will turn out to be capable of carrying out secret rendezvous with other agents, of picking up new outfits and passports and changing identities and carrying himself off as a whole range of different people, fluent in an impressive array of languages (English, Japanese, Korean, half a dozen tribal languages and Russian) which I found increasingly unbelievable.

Thus the next chapter skips over the training camp episode to give us Raven flying into Tokyo where, with typical stubbornness, he promptly refuses to do what the Japanese CIA agent, Yoshi, tells him.

The CIA plan is for Raven to masquerade as a Korean merchant seaman aboard a Japanese tramp steamer, Suzaku Maru, which is scheduled to puff up along the northern, Arctic coast of Siberia, till it gets to the nearest port to the fabled research base.

I still didn’t understand how they know where the base is, or how Johnny will know that, or how they know the ship will stop there, or anywhere nearby. Probably I should have reread the first hundred pages again, to try and piece together the highly elliptical clues. Davidson keeps his cards very close to his chest and only tells the reader the relevant bits of the plan, just before they fall due, and are about to kick in, sometimes only after they’ve happened. The result is a permanent sense of confusion.

Thus it was only a hundred pages later that the reader learns that ‘they’ (presumably the CIA) had approached one of the crew of this tramp steamer, Ushiba, and bribed him with a lot of money to take a pill which mimics the symptoms of yellow fever. He becomes extremely ill just as they dock in Japan. The captain transfers the sick sailor to an ambulance, and Raven just happens to be hanging round and have contacted the ship’s manpower agencies, as it arrives. So he is quickly hired, masquerading as a rough Korean merchant seaman, Sun Wong Chu, complete with pigtail, speaking the language with a slight speech impediment to the Japanese crew, who despise and ignore Koreans anyway.

There’s some tough sailor stuff, in particular a brutal fight with the bosun, who breaks his nose, but Raven works his passage and is gruffly accepted by the others. The ‘plan’ is for he himself to take a yellow fever pill so that, as the ship approaches Green Cape on the Arctic coast of Siberia, it is forced to put in to port and unload him. This he does, and the captain and bosun think he has somehow picked up the earlier sailor’s disease, maybe from infected sheets, mattress etc.

He is treated at Green Cape hospital by several doctors including a woman, Dr Komarova. Then, in a move which bewildered me, Dr Komarova hands him over to the Russian militia who put him on a flight to Yakutsk, where he is transferred to an Aeroflot flight to Murmansk – because that is where the steamer Suzaku Maru, was heading and where, they assume, he will want to rejoin his ship once he is well.

Except that, after recovering for a day or two at a seaman’s mission, Raven goes to a rendezvous with an agent, picks up from him a suitcase containing new clothes and identity papers, goes to the gents loos and shaves off all his hair and Korean pigtail, and emerges with a new identity as Nikolai (Kolya) Khodyan, a member of the Chukchee people from the Siberian east, and catches a plane to Irkutsk, changes to one to Yakutsk, then another local flight on to Tchersky, the nearest airport to Green Cape.

Hang on. If it was so easy to get there, to fly there – what was the point of the scam about him pretending to be a Korean sailor? Why the enormous complication of bribing the seaman he replaced to take a pill giving him fever (and trusting that the feverish sailor wouldn’t give away the plan) – and then making Raven grow a ponytail and pretend to be Korean for weeks, and get beaten up by the bosun and nearly crushed by dangerous equipment and then take the same damn pill and seriously endanger his health when… he could have just flown there in the first place?

I read all this carefully, but remained completely puzzled. I am obviously missing something and I would say that that sense – the nagging sense of missing some vital piece of the jigsaw – is the permanent and frustrating feeling given by reading this book.

So Raven is now Nikolai (Kolya) Khodyan. As planned, he proceeds to the vacant apartment of one Alexei Mikhailovitch Ponomarenko. It turns out that this man was on holiday in the Black Sea when he was approached by the CIA who knew he was a drug smuggler. They threatened to tell the authorities unless he extended his stay on the Black Sea and let his apartment in Tchersky be used by their man Raven. More, it turns out that Khodyan is a friend of Ponomarenko’s, whose identity they have borrowed to create a ‘legend’ (fake identity) for Raven.

Raven discovers Ponomarenko had a gossipy old housekeeper, Anna, and a big brassy girlfriend, Lydia Yakovlevna, both of whom we are introduced to, and both need careful (though very different) handling. Our suave superspy is up to both challenges.

Once unpacked and settled in, Raven goes straight to the Tchersky Transport Company and get a job as a long-distance lorry driver. A great deal of description goes into detailing the work of truck companies in the frozen north of Siberia, and the organisation of this particular company, and the shouty director, Bukarovksy, and various foremen who Raven has to sweet-talk into getting a job – and then we learn a great deal about the different types of trucks.

Davidson very powerfully transports us to a completely strange world, with its language, customs, slang, prejudices and the sheer, backbreaking nature of the work. In summer everything melts, the ships can bring in goods but they can’t be distributed because the countryside is a bog. In winter the ocean freezes over – no more ships – but so does the landscape and so trucks can now drive across it. Especially, it turns out, along the rivers, whose flat, deep-frozen-ice surfaces make perfect highways.

(Davidson gives historical background to the economy of the area, which began as appalling forced labour camps in the 1930s and 40s, but was transformed by the discovery of gold and other minerals in the 1960s to something like a viable, if gruelling, mining economy, pp.188-189)

Raven of course knows how to drive all the trucks (including the small, all-purpose ‘bobik’). He has – by impersonating a Korean seaman, surviving a brutal fight with the bosun, surviving a bout of yellow fever, carrying out a secret rendezvous in an airport and completely transforming his appearance and emerging a fluent Chukchee-speaking truck driver – established himself as a kind of spy superman, speaking as many oriental languages as required and capable of blending in anywhere as a member of the minority Siberian native peoples.

Raven is signed up as a driver and does the work well, earning respect and friendship among the rough crews. At a party of truck drivers Raven is horrified to notice the woman doctor Komarova, who treated him as the sick Korean seaman a few weeks earlier, taking an inordinate interest in him. (Didn’t anyone writing this grand plan foresee that he would meet one set of people as a sick Korean and then, returning in a completely different guise, risked bumping into the same people again?)

She comes over and talks. She is interested that he is a Chukchee. She invites him to come and meet her mother who lives in a community of Chukchee. Raven goes and we meet the little old lady and her Chukchee friend who, it turns out (the Chukchee community being so small) was present at his birth!!

Luckily, Raven has memorised the ‘legend’ prepared for him so immaculately that he is able to talk to this old lady about his numerous relatives and their mutual acquaintances (all the time, obviously, speaking in Chukchee). I found this wildly improbable.

On the way back from the little tea party, Raven determines to kill the doctor who has been asking more and more suspicious questions about his background. He gets as far as putting his arm round her neck and is on the verge of snapping it (he is a big, strong lad) when she squeals that she is in on The Plan, she is part of The Plan, she is his contact with Rogachev!

After that they go back to her place, she explains some of the background (her father and Rogachev were in the same labour camp together; she knew him as a kindly uncle when she was a girl), and the big revelation that it was she who bribed a merchant seaman who she was treating to take the coded cigarette papers which Rogachev had smuggled out to her, placed in a letter and addressed to Prof Lazenby, the fateful letter which was opened by his secretary in her calm Oxford office all those months earlier.

Then they have sex. Obviously. Most women I know like to shag a man who’s just tried to murder them.

She was not as well found as Lydia Yakovlevna; lankier, less yielding. But she was lithe, controlled, and quite used, as she said, to getting what she wanted. She was also very much more genuine, arching without histrionics when her moment came, and he arched at the same time, and afterwards she kissed his face and stroked it. (p.247)

Now they work together to smuggle Raven into the research base. This new plan stretched credibility to breaking point and beyond. It turns out the research base is very heavily patrolled and guarded (of course), but is serviced by a rotating squad of native Evenk people, selected from the large Evenk tribe which makes a living herding reindeer nearby. The Evenk are honest and reliable and deeply clannish i.e. don’t talk to outsiders, and, anyway, don’t do anything more secret than laundry, cooking, humping heavy equipment about. None of them has any idea what the research going on at the base is about.

Dr Komarova will smuggle Raven in by using a ruse. The ruse is this:

Rogachev, head of the research station, is attended by one of the Evenk tribe, Stepan Maximovich. Stepan inherited the job from his father. He never leaves the base. Raven will be taken to meet the clan leader of the tribe, Innokenty, and pretend to be one of them, an Evenk, but who moved as a boy to Novosibirsk in the distant south (to explain his rickety accent). He will then give a long complicated story about how he met down in the south some members of a white (Russian) family, worked for them, got to know and admire them, but how the father, some kind of scientist, was sent by the state off to some kind of ‘weather station’ in the north 15 or 16 years earlier. Money was sent the family, but no letters, Then the mother of the family died young, but the daughter survived, grew up, got married and is now pregnant. But she herself is now ill. A few months ago he got a letter from the daughter begging to see him. Raven goes sees her and she begs him to track down her father for her, name of Rogachev. He poked around in local offices and got a hint that M. Rogachev was posted somewhere in the Kolyma region. This woman begged Raven to travel to the north to find her father, and ask him to give her unborn child a name, it being the role of parents to name new babies.

This sob story will persuade the Evenk to smuggle Raven into the top secret research facility, hand him on to the personal assistant Stepan, who is the only one who can gain him admittance to the presence of the legendary scientist, Rogachev – so that Raven can hand deliver to him the letter written by his daughter.

And this is what happens. Dr Komarov takes Raven to a meeting with Innokenty and the tribe (flying there by helicopter on the pretext of making a routine medical visit). The Evenk elders completely accept Raven’s long cock-and-bull story (pp.262-268). They offer to give him all the help he needs (incidentally, also accepting his use of the Evenk language, which is different from the Chukchee Raven has been using in his persona as Kolya. He is, it will be remembered, a super-linguist).

There then follows the cloak and dagger business of smuggling Raven into the site. Raven poses as the driver of a lorry full of parts and goods which Dr Komarova is taking to the base. They pass through the security barrier, the guards checking her and her Chukchee driver (Raven)’s passes and wave through. Then, as is usual, some of the Evenk porters come out into the snow to help unpack the truck in the sub-zero conditions.

Komarova chooses a moment when the guards’ backs are turned and Raven swaps clothes with one of the Evenk tribesmen. This Evenk dresses as Raven, then accompanies Pomarova back to the truck, heavily swathed in scarves and muffles and is signed back out of the complex, while Raven, also heavily muffled, is accepted on the inside by the cohort of Evenk tribesmen currently working there – because they are all in on the conspiracy of him smuggling the letter from the pregnant woman to Rogachev, as agreed off by headman Innokenty. In fact they are almost too much in on the conspiracy as they all smile and grin and wink at the doctor and Raven so much they become tensely afraid the Russian guards will notice something is wrong. But they don’t. They think the native peoples are nuts, anyway.

There follows yet more cloak and dagger as, late that night, when the Evenk have gone to bed in their dormitory, Stepan the personal assistant comes and smuggles Raven out of the Evenk dormitory, through secret passages in the research base, and finally into an enormous luxury underground library, with a gallery running round the bookshelves dotted with masterpiece paintings by Picasso, Rembrandt and so on, and leaves him there.

There’s a whirring of motors and Rogachev, the man who started this whole preposterous series of events, whirs into the library in his wheelchair. Wheelchair. That explains why he couldn’t have gone anywhere to meet a western representative.

First Raven explains the subterfuge which has got him this far, i.e. that he’s delivering a letter to Stepan from his pregnant but ill grand-daughter, and they get an envelope and scribble on a blank sheet which Raven can show to the Evenks as the grateful father’s reply.

That out of the way, Rogachev can at last explain to Raven, and to the impatient reader, what the devil the whole thing is about. What it’s about is this:

The mystery at the heart of Kolymsky Heights

Rogachev tells Raven that the Russians have been experimenting for generations to try and breed a type of intelligent but hardy ape who can function as labour in this bleak, sub-freezing terrain.

(I blinked in disbelief at this point. We know that during the 1930s, 40s and 50s they used slave labour to work these areas. If Russians don’t want to do it nowadays, why not pay the local tribespeople, or do what the rest of the West does and import cheap immigrant labour? Breeding an entire new species seems a rather costly and unpredictable way of solving your labour problem, the kind of fantasy idea which only exists in science fiction novels.)

Rogachev tells a cock-and-bull story (this novel is full of them) about his predecessor, Zhelikov, being in a labour camp, but being plucked out and flown to Moscow after the war to meet the great Stalin because the dictator had read a scientific paper about hibernation. This planted the seed in Stalin’s mind that he might not die but be preserved alive. Zhelikov listened to Stalin’s musings and realised they were his passport out of the labour camp, and so nodded wisely, and agreed to set up a research base to bring suspended animation / hibernation/ cryogenics to the peak of perfection which would be required before they could try it on the Great Leader. Stalin rang up Beria and told him to make it so.

Zhelikov asked that the existing weather research base at Tcherny Vodi, near the labour camp of Tchersky, be greatly expanded. They’d have to dig down into the small mountain it was built on, to build multiple levels below the surface, levels for scientists, for ancillary workers, all the laboratories and so on. Stalin said, Make it so.

With the result that the best of Soviet engineering built the James Bond-style secret underground base which Raven now finds himself in, quaffing sherry amid the bookshelves, surrounded by masterpieces by Mondrian and Matisse. All quite bizarre. I didn’t know if I was meant to take this as a parody of a James Bond movie, where the mad scientist reveals his plan for world domination amid symbols of uber-wealth and corruption. All it needed was for Rogachev to be stroking a white cat. Are we meant to take it seriously?

Once the base was established Zhelikov wrote to Rogachev describing the work they were doing and inviting him to join. So he came and had been there ever since.

Now the mad scientist in the wheelchair introduces Raven to his star patient. It is an ape named Ludmilla, lying in bed in a dress, wearing lipstick and glasses and reading. She says hello to Raven. Raven says hello to Ludmilla. The reader wonders if he is hallucinating.

Rogachev explains that the research program to breed intelligent apes made great advances but suffered a fatal flaw: they found they could produce either intelligent apes, or hardy apes, but never the two together. They had been exploring all aspects of the problem including brain circuitry. The discovery of the pregnant neolithic woman and her foetus led to a breakthrough, but not the one they were expecting.

By a series of accidents the research stumbled across discoveries to do with eyesight. Davidson goes into mind-numbing but incomprehensible detail as Rogachev describes the step-by-step progress made, first with rats, then with experimental apes, by which they blinded the subjects – but then used a ‘harmonic wave’ which they had accidentally stumbled across, and which turned out to ‘restore eyesight’ (explained from page 315 onwards).

This ‘harmonic wave’ had several practical applications and Rogachev shows Raven one of them. Turns out Ludmilla the talking ape had been badly injured in the explosion at the research lab which had been detected by American satellites all those months earlier. Her eyes had been damaged and infected (the explosion released some kind of contamination, we aren’t told what).

The point is that Russian grasp of this harmonic wave technology is so advanced that they were able to build a) glasses which convert light into digital information which is then b) transported along wires in the wings of the glasses to electrical contacts which c) interact with contacts embedded behind the subjects’ ears, contacts which they have wired up to the optical regions of the subject’s brain so that d) the blind can see through their glasses!

All this is taking us a long, long way from the initial idea of ape-men and H.G. Wells. Now we are curing the blind. But even this turns out not to be the secret at the book’s core.

Because tests of the harmonic band wave had another unforeseen consequence: it completely disrupts the electrical signals which are used to direct guided and intercontinental missiles. By accident, the base has stumbled over a perfect defence system against all kinds of missile attack!

Rogachev now hands Raven two of the shiny square plates which we used to call computer floppy disks, back in the early 90s (p.326). These floppy disks contain all the information needed to recreate the Russian experiments and build harmonic wave machines and so develop their own anti-missile defences. But they must be opened in laboratory conditions, at lower than 240 degrees below freezing, or they will self-destruct.

I will die soon, Rogachev says (he, too, was infected in the explosion and fire). These will be my legacy. Goodbye. And he turns and whirs out of the room in his wheelchair. Raven goes back to the main door and a few minutes later Stepan opens it and lets him out, they retrace their steps to the Evenk dormitory and smuggle him in. In the morning Raven tells the Evenk that the grateful father has given him a letter and a ring to hand on to his beloved daughter. the Evenk think he is a hero and grin at their own involvement in the kind-hearted plot. A few days later Dr Komarova returns for more medical treatment and Raven is again swapped for the Evenk driver, this time the other way round, the Evenk returning to the dormitory, Raven reverting to his role as driver, driving Dr Komarova out of the complex and away, back to Tchersky. Mission accomplished. Well, first part anyway.

Complications

Unfortunately, there are two complications. One, at a literally very high level, is that the Chinese launch two test rockets during this period, designed to fly the length of China. Both fail due to direction mechanism failure. Davidson takes us into the nitty gritty of the designs and the failures but the upshot is they’re being interfered with by Russian satellites which hover in fixed position way up over the Asian landmass. Is this going to become important? Are the Chinese going to interfere in the story somewhere?

Closer to home, the drug dealer Ponomarenko, unhappy by the rainy Black Sea, hears on the radio that the state is announcing an amnesty for drug dealers. He checks with a lawyer and the cops and then comes forward to report that he has been blackmailed into lending his flat in Tchersky to some dodgy operators, who also wanted to know all about his friend Nikolai (Kolya) Khodyan.

The Black sea cops contact the small police office in Tchersky. They put out a warrant for Kolya/Raven. Dr Komorova hears about it in her capacity as a senior government official in the region. She warns Raven. One escape plan had been for Raven to fly out of the region. Or maybe take another ship. Both now impossible with the authorities checking all papers. Good job he had made a back-up plan.

The bobik

The whole Siberian section of the story has taken several months, during which Raven has wormed his way into the good books of the Tchersky Transport Company, undertaking long distance and countless short distance drives for them. The ‘plan’ had made provision for ‘extracting’ him from the location once the mission was accomplished. But Raven is stroppy and contrary by nature and had begun to make an independent escape plan. Just as well.

This plan is to a) cosy up to the chief engineer at the Tchersky Transport Company and b) persuade him to let him have all the component which make up a bobik light truck so he can build one himself from scratch.

On one of his many delivery trips around the region Raven has discovered a big cave, hidden by frozen bushes, big enough to turn into a workshop where he can secure a block and tackle to the ceiling, instal lamps around the place, store food, a sleeping bag and blankets – and then, slowly steadily, week after week, persuade the head engineer at Tchersky, to let him have more and more pieces of bobik and drop them off at the cave, and build a truck from scratch, by himself!

Implausible doesn’t seem an adequate word to describe how wildly improbable and unnecessary I found this. Why not just pile Dr Pomarova and a load of food into one of the existing bobiks he gets to use perfectly legally, set off on a long, perfectly legal trip, and just keep going? No. In Davidson’s story, he has to build his own truck!

The Tchersky militia led by Major Militsky become more officious and search every house. Raven hides in Dr Komarova’s cellar. Then she drives him out to the cave with food and he does back-breaking work constructing the bobik. She is due to come next night at midnight. Is hours late. He goes out to watch. Tension, stress.

She turns up with food and the battery, the last component needed to complete the bobik, and news that the hunt is getting serious. In fact it has become a region-wide hunt and a general from Irkutsk has flown in to take charge of it. Pomorova tells Raven how much she loves him. Oh darling. Oh sweet man. Yes, yes, says Raven, but realises that she is the only official allowed into Tcherny Vodi. They will interrogate her. They go over her story, trying to plant red herrings. Then kiss goodbye. ‘I will see you again, won’t I, my love?’ She asks. ‘Of course,’ he replies, lying.

She leaves. He tries to sleep. He can’t. He gets up and starts the bobik and inches out onto the frozen river. Half an hour later a military patrol passes by. He has got out just in time.

Raven on the run

Raven drives East. On the map there is a tributary of the main river-highroad which the map says is impassible. It is certainly strewn with rocks embedded in the ice, but he drives slowly and carefully and the bobik is designed to be indestructible. After several hours Raven comes to a hump-backed bridge which carries the highway from Tchersky to Bilibino (p.377). At a succession of Road Stations, Raven cruises in silently with his lights doused, parks and siphons petrol from the tanks of other bobiks in the car parks, the drivers tucked up inside the warm lodges. Not weather to be outside. He is heading east into a big range of mountains known as the Kolymsky Heights. Aha.

In parallel, a security forces general flies into Tchersky from Irkutsk and takes charge of the search. Having interrogated Ponomarenko, he realises this is a sophisticated spying project mounted by foreign powers. He realises the agent will have left the area. He orders all transport within a 500 mile radius to be frozen and checked.

Basically these last 100 pages turn into quite a nailbiting chase, Raven a clever resourceful fugitive, pitted against the General who is also a very intelligent and thorough investigator. While Raven drives East in a bobik the General is misled by several false clues into telling his forces to search to the south for a missing rubbish truck. But when that avenue runs dry, follows other clues, until he is right on the tail of our man.

The cold calculation of the fugitive, and the clever deductions of the general (I don’t think we’re ever given his name) reminded me strongly of the similar set-up in Frederick Forsyth’s classic thriller The Day of the Jackal. A high tension chase.

Raven drives on on on through the snow, hiding under bridges for snatched sleep, surviving on bread and salami, driving over a thousand kilometers, with a number of close shaves, and just squeezing past security barriers along the way, until he arrives at a tiny settlement named Baranikha which has an airport sure enough, but no flights in our out due to a fierce blizzard.

Raven hooks up with a drunk Inuit who he lets drink all his vodka till he passes out, whereupon Raven takes his coat and boots and backpack and skis and identity papers and hustles himself onto the first plane which is now leaving the airport as the snow lifts, to a tiny place out east, towards the Bering Strait, named Mitlakino.

Here he signs in with a jostling noisy scrum of other workers but in the dead of night retrieves his papers, backpack and steals a snowplough. The geography now becomes crucial. Baranikha and Mitlakino are way out at the easternmost tip of Siberia, on the blocky peninsula which sticks out into the Bering Strait and faces on to Alaska. Raven hadn’t planned it this way, it was pure fluke that the only plane flying from the airport was heading here. But now he’s here he conceives the plan of crossing the Bering Strait from the Russian side to the American side, and freedom. (Although Davidson nowhere explicitly explains this, the reader eventually deduces that at this time of year – the winter solstice – the Bering Strait is completely frozen over. Since it is only 50 miles wide, a man could walk it, admittedly hampered by the fog, snow and frequent blizzards.)

To cut a long story short, the security general has caught up with Raven’s trail, they’ve found the drunk Inuit at the airport as he sobers up and complains that someone’s stolen his papers, they’ve followed the trail to the workers dormitory at Mitlakino, so the general yells down the phone to the dopey head of the Mitlakino settlement who does a search and discovers a snowplough is missing. They deduce Raven must be heading to the coast and the general dispatches helicopters from a nearby military base to catch him.

The border between America and Russia runs down the middle of the Bering Strait. There are two islands there, the Greater Diomede Island is on the Russian side of the sea border, the Lesser Diomede Island is on the American side.

Raven drives his snowplough through a blizzard along the coast till he gets to a settlement called Veyemik. He hides the plough and knocks on the door of the biggest house, waking the headman of the local tribe of native peoples, Inuit. Here he pretends to be an Inuit on the run from the authorities. The people take him in. Next morning they all go out fishing to iceholes they cut in the deep frost covering the sea. Raven asks to go with them. They take him in a motorised ski-bus out to the hole where the Inuits split up to fish different holes. Raven has asked a series of questions establishing that they are almost within sight of Greater Diomede Island. He slips away from the Indians and sets out on skis.

But there is unusual helicopter activity overhead. The general has figured out where he is, and even has men at Veyemik interrogating the inhabitants, and now knows the fugitive is out on the ice. The general mobilises the defence forces on Greater Diomede who turn out in ski busses, little ski scooters and on skis. Plus the helicopters overhead.

After some complicated hide and seek, during which Raven, in the ongoing blizzard fog, isolates and knocks out a security soldier and steals all his equipment, he eventually realises the general has created a solid wall of trucks and soldiers with headlights and torches on, 250 metres from the border. Raven climbs up a cliff on the eastern side of Greater Diomede and hides in a cave, but then a helicopter flies slowly low along the cliff, guiding a truck of soldiers which uses a mortar to fire gas mortars into every cave. Raven tucks himself back against the wall but the mortar which shoots into his cave bounces on to his chest and explodes leaving him deaf and half blind. Only a little later do we discover it blew out one of his eyes (!).

Half-blinded he crawls to the cave entrance and shoots down the militia in the jeep, then half climbs half falls to the ground, crawls to the jeep, and half drives it. The chase becomes horrible now, as the militia close in and shoot out the tyres and lob mortars at the engine (the general has shouted down the phone to the local commander that the fugitive must be taken alive). A mortar detonates on the bonnet which blows shards of metal into Raven’s body. He cannot hear and barely drive or think. The wrecked jeep slews in circles but…

Once again and for the final time I was confused by Davidson’s elliptical descriptions and by the way he intrudes into this vivid description, parallel accounts of the aftermath and what the Russian authorities discovered in the cave and along Raven’s trail. All of this fooled me into thinking he made it just to the edge of the international border but was captured by the Russkies.

Which turns out to be wrong. The first the reader realises of this is when we are told that Raven is being rushed to hospital in Anchorage which is in America. I.e., although it is nowhere explicitly stated that he crossed the border, and there is no description of anything the American troops did on their side or how his body was recovered or anything – the next we know we have entered a different type of register as the book becomes like an official record of events, describing at high-level the transport of the body. Then we are told that Raven’s severely injured body packs up and he dies. Lost one eye, blinded in the other, shot through one knee, chest cluttered with shrapnel, lost one lung, it packs up and Raven dies. His funeral is attended by officials from Russia, who apologise for this sorry incident and for how a confused native must have wandered by accident into a military exercise. And who, naturally, make a note of everyone who attends the funeral.

Which is why none of the CIA officials attend, obviously. In fact no-one attends except the mortician and coroner.

But another reason no-one attends is that Raven isn’t dead. Davidson’s last trick in this very tricksy narrative is the not-altogether-unexpected revelation that the agency spirited the heavily-wounded Raven away to a super-advanced hospital, and swapped his boy with that of an unknown vagrant who had been – very conveniently – run over and trashed. That’s the heavily-bandaged body which is placed in a coffin and whose funeral the Russkies attend and who is cremated.

Meanwhile, Raven recuperates, given the best medical treatment the agency can provide.

And, in the final pages, there is the ring. You may recall that Rogachev gave Raven a ring, supposedly a blessing to his ‘daughter’, part of the cover story which got Raven into the compound. The ring was in fact Rogachev’s weeding ring which, knowing he is soon to die, he gives to Rogachev. Inside is engraved the motto As our love the circle has no end. After he’d been extracted from the base, among many other things Raven showed the ring to Dr Komarova, who has fallen deeply in love with him. Later, after he has fled the tightening net, Komarova goes to check out the cave where Raven had built the bobik. He has very professionally completely emptied it of every trace of his presence (loading it into the bobik and disposing of most of it in faraway ravines on his escape drive east). But she finds a small scrap of paper scrunged up. Inside is the ring with its motto.

Now, on the last page of the book, Dr Komarova has quit her job in Kolymsk and moved west to Petersburg (despite a shrewd interrogation by the general, she managed to throw the investigators off her trail and survived the whole episode without reproach). And three months later she receives a letter, containing an open-ended air ticket to Montreal, an immigration department slip bearing her correct name and passport number. And tucked away at the bottom of the envelope a tiny slip of cigarette paper bearing a single line of writing: As our love the circle has no end.

As love stories go, it has to be one of the weirdest I’ve ever read, but then the entire novel is meticulously detailed, powerfully atmospheric, often completely preposterous, sometimes incomprehensible but despite everything, exerted a very powerful tug on my imagination and memory.

Maps

There are four maps in the novel (more than you sometimes get in history books). Good quality ones, too, showing:

  1. the whole of northern Asia (pages 32 to 33)
  2. the coast of British Columbia, where Lazenby and the CIA man go to find Raven (p.76)
  3. Cape Dezhnev and Bering Strait region (p.158)
  4. the Kolymsky Region (p.417)

But there is the same sense of oddity or something wrong about these as there is over the whole book. Very simply, the two latter maps should be reversed.

The central section of the novel is set in the Kolymsky region, so the detailed map of the area – which shows Cape Green where the ship docks, Tchersky where the doctor lives and Raven gets his job on the lorries, the location of the research centre and even of the cave he discovers and uses to build his bobik – quite obviously this map should go at the beginning of that section instead of where it is actually positioned, well after that whole section has finished (?)

Whereas it is only on page 410 that we first hear of the small settlement of Mitlakino and Raven decides to take the plane there. At which point the precise geography of the area becomes vital to his plans for escape, and for the final nailbiting descriptions of his escape across the ice – and so this is where the map of Cape Dezhnev and Bering Strait should go – not 250 pages earlier, where it was completely irrelevant and didn’t register as important. It wasn’t important, yet.

Is this an editorial mistake, a mistake in the printing of the book? Or yet another subtle way of blindsiding the reader and keeping us puzzled, as the suppression of so many other key facts in the narrative succeeded in puzzling me all the way through.

Style

Flat descriptions

Although the book is set in some dazzling and awe-inspiring landscapes (the seascapes and frozen landscapes of Siberia) Davidson is not very good at descriptions. He gives the facts ok, but they rarely come to life. Here’s an example of his prose.

He got up and walked about the room. In a recess beside the stove an icon was on the wall. The stove was cold, the house now electrically heated, very stuffy, very warm. Books were everywhere, on shelves, tables. He couldn’t make out the titles in the dark. (p.243)

You can see the bit of effort Davidson has made to create something more than flat factual description with his use of the verbless phrases such as ‘very stuffy, very warm’. Not very inspiring, though, is it?

Martin Cruz Smith’s sequel to Gorky ParkPolar Star, finds his Moscow detective, Arkady Renko way off his beat, working on a factory ship in the Bering Sea. It’s the same location as the coastal scenes of Kolymsky Heights, at about the same time (Polar Star 1989, Kolymsky Heights 1994). Smith’s book is sensationally vivid in description and atmosphere. I think it’s the best of the eight Renko novels because you can feel the icy temperature, the salt spray in your face, the harshness of frozen metal.

None of that is captured by Davidson’s prose. It is flat and functional. Eventually, by dint of repetition of the facts, you get the powerful sense of brain-numbing cold, of ice and snow and blizzards. But it is done rationally, by repetition of factual information, not by the style.

Mind you, Davidson has a few mannerisms of his own:

Echoing

One is a kind of dumb, blank repetition of events. Very often he’ll end a paragraph saying so-and-so plans to do x, y or z. And then the next paragraph begins with ‘And so-and-so did x, y, or z.’

‘I have thought how this could be managed’.
He explained how this could be managed. (p.306)

He was contacting them himself immediately.
Which, immediately, he did. (p.443)

It’s a kind of rhetorical echolalia. It doesn’t add to atmosphere or even tension. The opposite. I found it helped harden the colourless carapace of Davidson’s prose, often making it even harder to work out what was happening and, in particular, why.

I suppose, it also creates an effect of inevitability. Someone says something is going to happen… and then it happens. Maybe the aim is to create a sense of fatefulness and predestination, to give the narrative a slightly mythic quality.

‘Sure, Kolya. You’ll take the job – just when we get the call.’
And they got the call, and he got the job. (p.197)

It all falls into place, more as if it’s a myth or legend or fairy tale than an ordinary sequence of contingent human events. But I found it irritatingly mannered.

Phrase reversal

Another tic is reversing the usual structure of an English sentence, from subject-verb-object to object-subject-verb.

His present job he greatly disliked. (p.281)

With his security chief Beria he had discussed this idea. (p.299)

This idea he suddenly found himself discussing in the most bizarre circumstances… (p.300)

The route to Anyuysk she knew, and he stayed under a blanket in the back while she drove. (p.348)

This ridiculous situation he had promptly ordered Irkutsk to deal with… (p.385)

It’s a not very successful attempt to jazz up Davidson’s generally flat prose. I suppose it might be argued that playing with the word order of conventional English like this goes a little way towards mimicking the various foreign languages that are spoken in the book, and maybe creating a sense of the ‘otherness’ of Russia and the Russian-speakers who the second half of the story is set amongst. Maybe.

Her intense nervousness she covered with an air of impatience. (p.386)

To Zirianka a long-distance helicopter was required… (p.404)

Italics

In the extended account of Raven’s meeting with Innokenty and the Evenks, Davidson used an excessive amount of italics to make his points, often rather unnecessarily. This reminded me of John le Carré’s nugatory use of italics to try and make his dialogue more dramatic.

Since they started their careers at almost the same time, this made me wonder if it’s a feature of the fiction of the time: was there something about emphasis in the late 1950s, a historic idiolect from that period which lingered on in their prose styles.

If they merely hovered over his route, they would catch him now. How far, in three or four minutes, could he have gone? (p.444)

For me, the random use of italics didn’t intensify the reading experience but created a constant sense of annoying distraction.

Gaps and absences

I read the book with a permanent sense that I kept missing key bits of information about who was going where, and why.

Unless this is simply part of Davidson’s technique: to leave key bits of information and motivation out of the novel so as to leave the reader permanently off-balance.

Possibly, a second reading of the book, knowing in advance the information which is only revealed later on in the text, would help you make sense of all the hints and obliquities early on in the narrative. Maybe the pattern only fully emerges after several readings.

Maybe this is why Philip Pullman is liberally quoted on the front, the back and in the short introduction he provides for the book, describing it as ‘the best thriller he’s ever read’. In the introduction he says he’s arrived at this opinion after reading the book four times. Maybe that’s the amount of effort you’d have to put in to really see the full pattern.

But certain inexplicabilities would still remain: why did Raven undertake the long sea voyage if he could just have flown to Tchersky any day of the week? And nothing can eliminate the truly bizarre scene where Raven shakes hands with an ape in a dress named Ludmilla. The final hundred pages of fast-paced chase revert to something like conventional thriller style. But shaking hands with a talking ape? I still have to shake my head to be sure I actually read that. Or did someone spike my drink?


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