{"id":10302,"date":"2021-12-24T23:10:43","date_gmt":"2021-12-24T17:40:43","guid":{"rendered":"https:\/\/tamizhini.in\/?p=10302"},"modified":"2021-12-25T07:47:51","modified_gmt":"2021-12-25T02:17:51","slug":"stepping-in-the-same-river-twice-on-vasily-grossmans-stalingrad","status":"publish","type":"post","link":"https:\/\/tamizhini.in\/?p=10302","title":{"rendered":"Stepping in the Same River Twice: On Vasily Grossman’s “Stalingrad”"},"content":{"rendered":"\n

For scholars and lovers of Russian culture alike, the translation of Vasily Grossman\u2019s epic World War II novel Stalingrad <\/em>into English is a literary event of surpassing significance. Made possible by the herculean efforts of husband-and-wife duo Robert and Elizabeth Chandler, who together have now translated most of Grossman\u2019s prose oeuvre, this exhaustive restoration of a work long neglected for its supposed bowdlerization at the hands of Soviet censorship represents a remarkable achievement. Alongside Alexandra Popoff\u2019s recently released biography of Grossman, Stalingrad<\/em> should provoke a renaissance of critical analysis and appreciation.\u00b9 There has never been a better time for anglophone readers to acquaint themselves with one of twentieth century Europe\u2019s greatest overlooked literary talents. <\/p>\n\n\n\n

Stalingrad<\/em> is the precursor to Grossman\u2019s better-known Life and Fate<\/em>, which never saw print during the author\u2019s lifetime. Rejected by censors for its equation of Nazism and Communism, the manuscript of Life and Fate<\/em> was seized (or as Grossman always insisted, \u201carrested\u201d) by KGB agents in 1961. Mikhail Suslov, the party\u2019s top ideologist under Khrushchev and Brezhnev, famously told Grossman his novel could not be published in the Soviet Union for \u201ctwo to three hundred years.\u201d Less than two decades later, however, a Russian-language edition appeared in France, copies of the manuscript having been smuggled out on microfilm. When the first excerpts of Life and Fate<\/em> finally materialized in the Soviet press during the 1980s, Grossman\u2019s strident criticism of Stalin\u2019s military prowess and open questioning of Soviet moral superiority over the Nazis provoked a minor public sensation. Stalingrad<\/em>, on the other hand, was published three times in the USSR: first as a serialization in the literary journal Novyi mir<\/em> in 1952, then twice as a standalone book in 1954 and 1956. The title of each of these versions was For a Just Cause<\/em>, a phrase from a speech given by foreign minister Viacheslav Molotov on the day of the German invasion. Grossman, however, always intended to call the novel simply Stalingrad<\/em>, a reflection of his ambition to present a total picture of the battle he had experienced firsthand as a wartime journalist.  <\/p>\n\n\n\n

Reinstating the novel\u2019s original title is merely the Chandlers\u2019 most conspicuous departure from precedent in their new translation. Stalingrad<\/em> has a reputation as the more prosaic of Grossman\u2019s WWII novels; compared with its sequel, the introduction opines, Stalingrad <\/em>is \u201cless philosophical, but more immediate; it presents us with a richer, more varied human story.\u201d Indeed, Robert Chandler, who translated Life and Fate<\/em> into English in 1985, admits to having ignored Stalingrad <\/em>for decades, only becoming convinced of the novel\u2019s merit after reading it at the urging of historian Jochen Hellbeck. Much of this mediocre reputation, it turns out, results from changes Grossman was compelled to make in order to publish his work in the repressive and increasingly antisemitic atmosphere of late Stalinism. According to the Chandlers, Grossman rewrote Stalingrad<\/em> at least four times between completing the text in 1949 and its first publication in 1952. Moreover, beyond the three published editions, all of which differ from one another in fundamental respects, the Russian literary archives contain no fewer than eleven unpublished manuscript and typescript variations. These archival records testify to the mercurial ideological imperatives and sometimes absurdly minute preoccupations of Soviet censorship, as well as to Grossman\u2019s own evolving conception of his novel\u2019s structure and content. <\/p>\n\n\n\n

Until now, all Russian republications and translations of Stalingrad<\/em> have derived from the version published in 1956, the most complete and most thoroughly de-Stalinized of the Soviet editions. For this first English translation, however, the Chandlers have undertaken a wholesale revision of the text, reincorporating substantial portions of the third archival version, the earliest legible typescript and source of the novel\u2019s \u201cwittiest, most perceptive, and most unusual passages,\u201d many of which were subsequently excised by Grossman\u2019s editors. Such passages range from a few words to several pages, and while some do contain politically sensitive material\u2014ruminations on the universal nature of truth or emphasis on the Jewish background of central characters like the physicist Viktor Shtrum, a stand-in for the author himself\u2014others were simply turns of phrase judged too florid for the austere literary aesthetic of socialist realism. As often as not, passages cut from the third archival version involve gallows humor or the mention of unseemly conduct (\u201cgenerals who had farted when a shell exploded\u201d) rather than anything we would recognize today as overtly subversive.  <\/p>\n\n\n\n

By resurrecting the vivid imagery and transgressive language of Grossman\u2019s earliest drafts, the Chandlers\u2019 translation gives the lie to any assertion that Stalingrad<\/em> lacks the verve of its more celebrated sequel. In addition to standard footnotes, the afterword includes more than two dozen pages of chapter-by-chapter annotations documenting significant differences between the various published and unpublished variations, enabling readers (or at least those willing to wade through such addenda) to get a sense of how editorial intervention, both Soviet and otherwise, has shaped the novel\u2019s development. The resulting text masterfully reconciles archival evidence of Grossman\u2019s authorial intentions with the published record. It is as close as we will likely come to a definitive edition of Stalingrad<\/em>. <\/p>\n\n\n\n

Like any novel about Russia of a certain length, Stalingrad<\/em> will inevitably be compared to War and Peace<\/em>, and there are obvious similarities between the two narratives: both take place during a cataclysmic military conflict, center on sprawling fictional families whose lives intersect with historical figures, and oscillate between quotidian details and extended philosophical digressions. Nor are these similarities coincidental. As the introduction explains, Grossman consciously positioned his saga as the Soviet counterpart to Tolstoy\u2019s account of the Napoleonic Wars. \u201cDuring the whole war,\u201d Grossman subsequently recalled, \u201cthe only book that I read was War and Peace<\/em>, which I read twice.\u201d Unlike Tolstoy, however, Grossman actually lived through the war he wrote about, a point the author makes explicit in one of several direct references to War and Peace <\/em>scattered throughout Stalingrad<\/em>: \u201cIt was all very well for Tolstoy\u2014he wrote his great and splendid book decades after 1812, when the pain felt by every heart had faded and only what was wise and bright was remembered.\u201d <\/p>\n\n\n\n

Donna Tussing Orwin has suggested that the fictional narrative of War and Peace<\/em> \u201cdemonstrates both the necessity of human freedom and, paradoxically, the extent to which history and its actors must be determined; its digressions argue for each of these fundamental imperatives in different places without explaining how the two can coexist.\u201d\u00b2 This same tension lies at the heart of Stalingrad<\/em> and is expressed through the novel\u2019s central symbolic device, rivers and flowing water, which appear repeatedly as metaphors for the continuous motion of individuals, armies, and nations in tandem with or against the current of history. Grossman compares both the Soviet and German forces at various points to bodies of water: the Nazis are a \u201cstinking stream\u201d attempting to undermine the \u201cdeep ocean\u201d of Soviet unity, while the war itself is \u201clike some great sea where ever river had its source.\u201d Playing off Tolstoy, who depicts French troops pouring into Moscow \u201clike water into sand,\u201d Grossman writes, \u201cThe boundless river of the Soviet people\u2019s anger and grief had not been left to drain into the sand. The will of the people, the will of the Party and state had transformed it into a river of iron and steel and it was now flowing back, from east to west.\u201d Later, echoing a famous line from The Communist Manifesto<\/em> (\u201cAll that is solid melts into air, all that is holy is profaned\u201d), he describes the first German bombs falling on Stalingrad: \u201cWater was flowing everywhere. [\u2026] Everything most immovable\u2014everything made of stone and iron\u2014had become fluid; everything into which people had instilled the power and idea of movement\u2014trams, cars, buses, locomotives\u2014had come to a stop.\u201d <\/p>\n\n\n\n

The image of flowing water seems to have struck Grossman early on; in an essay addressed to his fellow Soviet writers from June 1945, only six months after the war ended, he wrote, \u201cDo we understand that it is we who, more resolutely than anyone, must now enter into battle against the forces of forgetfulness, against the slow and implacable flow of the river of time?\u201d Recourse to such grandiloquent language was no doubt a consequence of repeat readings of War and Peace<\/em>, the first epilogue to which proclaims, \u201cThough the surface of the sea of history seemed motionless, the movement of humanity went on as unceasingly as the flow of time.\u201d But Grossman\u2019s particular fascination with flowing water appears to have been inspired less by Tolstoy than Heraclitus, a pre-Socratic Greek philosopher to whom the maxim panta rhei<\/em> (\u201cEverything flows\u201d) is usually attributed. Grossman made these words the title of his final and most openly anti-Soviet novel, completed in 1963 after the suppression of Life and Fate<\/em>, and they appear in Stalingrad<\/em> via the internal monologue of Colonel Pyotr Novikov: \u201cHeraclitus said, \u2018Everything flows, everything changes.\u2019 The Germans had rephrased this: \u2018We can go around everything, we can flow around everything.\u2019\u201d <\/p>\n\n\n\n

In Heraclitus\u2019 thinking, the paradoxical nature of the river\u2014always the same body of water, but forever flowing and shifting\u2014symbolizes the unity of opposing forces that characterizes reality. His best-known aphorism, \u201cNo man steps into the same river twice,\u201d encapsulates this philosophy of constant change, and it too appears in Stalingrad<\/em>, tempered by a statement of its inadequacy to the revolutionary conditions of Soviet power: <\/p>\n\n\n\n

\u201cEverything had, of course, always been changing and flowing. Even before the Revolution it had been impossible for one man to step into the same river twice\u2014but in those days the river had flowed very slowly, its banks had never looked any different and Heraclitus\u2019s revelation had seemed strange and obscure. Was there anyone at all in Soviet Russia who would feel surprised by the revelation that had so struck the Greek philosopher? This truth had moved from the realm of philosophical speculation to that of common experience [\u2026].\u201d <\/p>\n\n\n\n

Here Grossman introduces an element of historical contingency to Heraclitus: no man steps in the same river twice, but the river flows unevenly and appears differently depending on one\u2019s vantage point. Constant change neither precludes nor guarantees progress: ultimately, it is human action that determines the course and character of human events. As Marx declared in 1852, \u201cMen make their own history, but they do not make it as they please; they do not make it under self-selected circumstances, but under circumstances existing already, given and transmitted from the past.\u201d\u00b3<\/p>\n\n\n\n

In Stalingrad<\/em>, Heraclitus\u2019 river serves not as a logical terminus, but rather the metaphorical starting point for a Tolstoyan meditation on temporality and the role of individuals in the historical process. Recounting the exploits of Aleksandr Rodimtsev, a real-life colonel decorated for his unit\u2019s heroism at a crucial moment during the battle, Grossman at first accentuates the unconscious, deterministic dimension of human action: \u201cDuring the hours that Rodimtsev had been out of contact with his division, the life of thousands of men, like water seeking the easiest path downhill, had followed its own, entirely natural course.\u201d A few pages after this, however, we learn of the colonel\u2019s ability to direct the flow of this human stream: \u201cAll the human activity round about at once began to change direction. Rodimtsev had put in place the first stones of a dam intended to divert his men\u2019s energies down a different channel.\u201d <\/p>\n\n\n\n

One of the most striking passages of this sort, part of a chapter omitted in 1952 and 1954, compares influential historical figures to experienced swimmers: <\/p>\n\n\n\n

\u201c[A]t first, they appear to be swimming against the current, but, as they swim on, it becomes clear that the opposing forces were mere eddies and backwaters. With perseverance, they get the better of these surface currents. Their own strength and the deepest, most powerful current then join together and the swimmer is able to move freely and powerfully. [\u2026] A swimmer of this kind, able to distinguish between the false and the real, between the surface eddies and the mainstream of history, is no mere splinter of wood. He is, of course, moved by the currents, but he decides for himself which to fight and which to follow.\u201d <\/p>\n\n\n\n

Per Grossman, the Nazis\u2019 hubris lies is the belief that they constitute the motive force of historical development\u2014that they are the river itself (\u201cWe can go around everything, we can flow around everything\u201d). Fascism can thus be understood as a fundamentally naturalistic <\/em>ideology, in that it aims \u201cto subordinate all human life to rules similar in their soulless, senseless and cruel uniformity to those that govern dead, inanimate nature, the laying down of sediments on the seabed or the erosion of mountain ranges.\u201d The Soviets, by contrast, understand themselves to be a human<\/em> force, separate from\u2014and hence able to intervene into\u2014the natural flow of reality. Like the swimmer who moves along with the current, they draw strength from the river\u2019s limitless energies, and in doing so channel this energy towards decisive action. <\/p>\n\n\n\n

Grossman literalizes this divergence in attitudes towards the metaphorical river of history through his characterization of the two armies\u2019 relationship with the Volga River, an important symbol in Russian folklore sometimes referred to as Volga-Matushka<\/em> (Mother Volga). As far as the Germans are concerned, the Volga represents little more than a strategic objective, the last hurdle to be cleared before taking the city of Stalingrad on its eastern bank (\u201cthe Volga meant victory!\u201d). For the thousands of retreating Soviet soldiers who bathe in its mighty waters, however, the Volga becomes the site of a \u201cmass baptism before the terrible battle for freedom\u201d comparable in significance to Prince Vladimir\u2019s tenth-century Christianization of Kievan Rus\u2019. In Grossman\u2019s telling, this holy communion between the Volga and the Red Army is what ultimately stymies the Nazi advance: \u201cShould future historians wish to understand the turning point of this war, they need only come to this shore.\u201d Later, in a more tactical mood, he makes a similar argument: \u201cThe river may have looked like a dividing line, but in reality it marked a perfect joint, welding together the two halves of the Soviet forces, uniting the firepower of the east bank with the west bank\u2019s unflagging courage. The Volga enabled gunners and foot soldiers to cooperate with unusual effectiveness.\u201d<\/p>\n\n\n\n

As both literary motif and literal geographic marker, therefore, the river demarcates a sharp boundary between Soviet Communism and Nazi Fascism. The broader critique that Grossman advances in Life and Fate<\/em> of both ideologies as \u201ctotalitarianism\u201d is largely absent here, save for a few ambiguous passages his editors were careful to remove. Stalingrad<\/em> remains a Soviet epic through and through, a fact that does not detract from the novel\u2019s moving depictions of individual suffering and the dehumanizing effects of war. Amidst sweeping battle scenes and historical theorizing, Grossman never abandons his stalwart commitment to the dignity of ordinary people. \u201cWith the fragility of human life now so apparent,\u201d he writes towards the conclusion of Stalingrad<\/em>, \u201cthe value of every individual emerged more clearly than ever.\u201d <\/p>\n\n\n\n

Isaiah Berlin famously divided authors into two broad groups: hedgehogs, for whom everything circles back to a single, all-encompassing idea, and foxes, who pursue diverse, even contradictory ends in their writing.\u2074 Like his literary paragon Tolstoy, whom Berlin argues was \u201cby nature a fox, but believed in being a hedgehog,\u201d Vasily Grossman defies neat categorization as either an orthodox or dissident Soviet writer. Blessed with the talents and tendencies of a fox, he lived, worked, and died in a country where all writers were expected to be hedgehogs of a very particular sort. His work endures as a humanist testament to the Soviet cause, and to all the injustices that such a seemingly just cause was made to serve. <\/p>\n\n\n\n

*<\/h4>\n\n\n\n

References:<\/h4>\n\n\n\n
  1. Alexandra Popoff, Vasily Grossman and the Soviet Century<\/em> (New Haven: Yale University Press, 2019). https:\/\/yalebooks.yale.edu\/book\/9780300222784\/vasily-grossman-and-soviet-century<\/a><\/li>
  2. Donna Tussing Orwin, \u201cIntroduction\u201d in Tolstoy On War: Narrative Art and Historical Truth in \u201cWar and Peace<\/em>\u201d (Ithaca: Cornell University Press, 2012), 1. https:\/\/www.cornellpress.cornell.edu\/book\/9780801478178\/tolstoy-on-war\/<\/a><\/li>
  3. Karl Marx, The Eighteenth Brumaire of Louis Bonaparte<\/em> (1852): https:\/\/www.marxists.org\/archive\/marx\/works\/1852\/18th-brumaire\/ch01.htm<\/a><\/li>
  4. Isaiah Berlin, \u201cThe Hedgehog and the Fox,\u201d (1953): https:\/\/www.blogs.hss.ed.ac.uk\/crag\/files\/2016\/06\/the_hedgehog_and_the_fox-berlin.pdf<\/a><\/li><\/ol>\n\n\n\n

    *<\/h4>\n\n\n\n

    This article was originally published in Cleveland Review of Books, a regionally focused journal of criticism, on Nov 26, 2019.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

    For scholars and lovers of Russian culture alike, the translation of Vasily Grossman\u2019s epic World War II novel Stalingrad into English is a literary event of surpassing significance. Made possible by the herculean efforts of husband-and-wife duo Robert and Elizabeth Chandler, who together have now translated most of Grossman\u2019s prose oeuvre, this exhaustive restoration of […]<\/p>\n","protected":false},"author":144,"featured_media":10303,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","jetpack_post_was_ever_published":false},"categories":[9,30],"tags":[1105,991,990,988,1055],"class_list":["post-10302","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-english","category-reviving-the-classics","tag-alexander-mcconnell","tag-life-and-fate","tag-stalingrad","tag-vasily-grossman","tag-1055"],"jetpack-related-posts":[{"id":9824,"url":"https:\/\/tamizhini.in\/?p=9824","url_meta":{"origin":10302,"position":0},"title":"\u0bb5\u0b9a\u0bc0\u0bb2\u0bbf \u0b95\u0bbf\u0bb0\u0bbe\u0bb8\u0bcd\u0bae\u0bc7\u0ba9\u0bcd: \u0b87\u0bb0\u0bc1\u0baa\u0ba4\u0bbe\u0bae\u0bcd \u0ba8\u0bc2\u0bb1\u0bcd\u0bb1\u0bbe\u0ba3\u0bcd\u0b9f\u0bbf\u0ba9\u0bcd \u0ba4\u0bb2\u0bcd\u0bb8\u0bcd\u0ba4\u0bcb\u0baf\u0bcd – \u0b86\u0bb0\u0bcb\u0ba9\u0bcd \u0bb2\u0bc7\u0b95\u0bcd \u0bb8\u0bcd\u0bae\u0bbf\u0ba4\u0bcd","author":"\u0b95\u0bcb.\u0b95\u0bae\u0bb2\u0b95\u0bcd\u0b95\u0ba3\u0bcd\u0ba3\u0ba9\u0bcd","date":"25.11.21","format":false,"excerpt":"\u0b9a\u0bcb\u0bb5\u0bbf\u0baf\u0ba4\u0bcd \u0b92\u0ba9\u0bcd\u0bb1\u0bbf\u0baf\u0bae\u0bcd \u0b89\u0ba4\u0bbf\u0bb0\u0bbf \u0b8e\u0bb4\u0bc1\u0ba4\u0bcd\u0ba4\u0bbe\u0bb3\u0bb0\u0bcd\u0b95\u0bb3\u0bbe\u0bb2\u0bc1\u0bae\u0bcd \u0b87\u0ba4\u0bb4\u0bbe\u0b9a\u0bbf\u0bb0\u0bbf\u0baf\u0bb0\u0bcd\u0b95\u0bb3\u0bbe\u0bb2\u0bc1\u0bae\u0bcd \u0ba8\u0bbf\u0bb1\u0bc1\u0bb5\u0baa\u0bcd\u0baa\u0b9f\u0bcd\u0b9f \u0b85\u0bb0\u0b9a\u0bbe\u0b99\u0bcd\u0b95\u0bae\u0bcd \u0b8e\u0ba9\u0bcd\u0bb1\u0bc7 \u0ba8\u0bbf\u0ba9\u0bc8\u0bb5\u0bc1\u0b95\u0bc2\u0bb0\u0baa\u0bcd\u0baa\u0b9f \u0bb5\u0bc7\u0ba3\u0bcd\u0b9f\u0bc1\u0bae\u0bcd. \u0bb5\u0bc7\u0bb1\u0bc1 \u0b9a\u0bca\u0bb2\u0bcd\u0bb2\u0bbf\u0bb2\u0bcd \u0b85\u0ba4\u0bc8\u0b95\u0bcd \u0b95\u0bca\u0b9f\u0bc1\u0b99\u0bcd\u0b95\u0ba9\u0bb5\u0bc1 \u0b8e\u0ba9\u0bcd\u0bb1\u0bc1\u0bae\u0bcd \u0b95\u0bc1\u0bb1\u0bbf\u0baa\u0bcd\u0baa\u0bbf\u0b9f\u0bb2\u0bbe\u0bae\u0bcd. \u0ba4\u0bc1\u0ba3\u0bcd\u0b9f\u0bc1\u0baa\u0bcd \u0baa\u0bbf\u0bb0\u0b9a\u0bc1\u0bb0\u0bb0\u0bcd\u0b95\u0bb3\u0bcd, \u0ba4\u0ba9\u0bcd\u0ba9\u0bbf\u0b9a\u0bcd\u0b9a\u0bc8\u0baf\u0bbe\u0ba9 \u0b95\u0bca\u0bb3\u0bcd\u0b95\u0bc8\u0baf\u0bbe\u0bb3\u0bb0\u0bcd\u0b95\u0bb3\u0bcd, \u0bb5\u0bbf\u0bae\u0bb0\u0bcd\u0b9a\u0b95\u0bb0\u0bcd\u0b95\u0bb3\u0bcd, \u0b9a\u0bbf\u0bb1\u0bc1 \u0baa\u0ba4\u0bcd\u0ba4\u0bbf\u0bb0\u0bbf\u0b95\u0bc8 \u0bb5\u0bc6\u0bb3\u0bbf\u0baf\u0bc0\u0b9f\u0bcd\u0b9f\u0bbe\u0bb3\u0bb0\u0bcd\u0b95\u0bb3\u0bcd, \u0b95\u0bb5\u0ba9 \u0b88\u0bb0\u0bcd\u0baa\u0bcd\u0baa\u0bc1\u0b95\u0bcd\u0b95\u0bbe\u0b95\u0b95\u0bcd \u0b95\u0bb0\u0bc1\u0ba4\u0bcd\u0ba4\u0bbf\u0b9f\u0bc1\u0baa\u0bb5\u0bb0\u0bcd\u0b95\u0bb3\u0bcd, \u0ba4\u0bbf\u0bb0\u0bc1\u0b9f\u0bcd\u0b9f\u0bc1\u0b95\u0bcd \u0b95\u0bb2\u0bc8\u0b9e\u0bb0\u0bcd\u0b95\u0bb3\u0bcd, \u0ba4\u0bae\u0bcd\u0bae\u0bc8\u0ba4\u0bcd \u0ba4\u0bbe\u0bae\u0bc7 \u0ba4\u0bca\u0bb4\u0bbf\u0bb2\u0bbe\u0bb3\u0bb0\u0bcd \u0b92\u0bb0\u0bc1\u0b99\u0bcd\u0b95\u0bbf\u0ba3\u0bc8\u0baa\u0bcd\u0baa\u0bbe\u0bb3\u0bb0\u0bcd\u0b95\u0bb3\u0bcd \u0b8e\u0ba9\u0bcd\u0bb1\u0bc1 \u0b85\u0bb4\u0bc8\u0ba4\u0bcd\u0ba4\u0bc1\u0b95\u0bcd\u0b95\u0bca\u0ba3\u0bcd\u0b9f \u0ba4\u0bcb\u0bb2\u0bcd\u0bb5\u0bbf\u0baf\u0b9f\u0bc8\u0ba8\u0bcd\u0ba4 \u0b95\u0bb5\u0bbf\u0b9e\u0bb0\u0bcd\u0b95\u0bb3\u0bcd - 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The once-in-four-years carnival usually throws a lot of surprises. In Russia 2018, Germany, Argentina, Spain have already been eliminated at the early stages. 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