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Джанет Фитч: The Revolution of Marina M.

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Джанет Фитч The Revolution of Marina M.

The Revolution of Marina M.: краткое содержание, описание и аннотация

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From the mega-bestselling author of White Oleander and Paint It Black, a sweeping historical saga of the Russian Revolution, as seen through the eyes of one young woman One of Entertainment Weekly’s Most Buzzworthy Books of Fall 2017 St. Petersburg, New Year’s Eve, 1916. Marina Makarova is a young woman of privilege who aches to break free of the constraints of her genteel life, a life about to be violently upended by the vast forces of history. Swept up on these tides, Marina will join the marches for workers’ rights, fall in love with a radical young poet, and betray everything she holds dear, before being betrayed in turn. As her country goes through almost unimaginable upheaval, Marina’s own coming-of-age unfolds, marked by deep passion and devastating loss, and the private heroism of an ordinary woman living through extraordinary times. This is the epic, mesmerizing story of one indomitable woman’s journey through some of the most dramatic events of the last century.

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First I had to set my trap. On the way home, I stopped at Wolf’s bookshop and bought Miss Haddon-Finch a special gift: Penrod, by Booth Tarkington, the latest arrival from England, having miraculously made it through the blockade. Not cheap, but it would be well worth it.

“Why, thank you, Marina, dear. What a thoughtful gesture,” she said that evening, stroking the cover of the book.

Seryozha was onto me instantly. He pounced the moment she left the nursery, forcing me to tell him what I was up to. I explained why I couldn’t take him—at fourteen, slender and small-boned, he was often mistaken for twelve—but he threatened to tell Father if I left him behind. He didn’t care about poetry, but the interior of the Stray Dog had been painted by Sudeikin, who’d designed sets for Diaghilev. Seryozha had to see it. “If I don’t go, you don’t go,” he said, and I could not persuade or bribe him.


That evening, with Mother and Father off with the British and Miss Haddon-Finch in bed with her book, we dressed in our most grown-up clothes and made our way to Mikhailovskaya Square. The night tasted of the coming frost, and the trees were already bare. Varvara stepped out of the shadows, and with her, Mina, who’d come despite her misgivings. She hated to be accused of being a grade-grubber and a baby. I held the finial of the stair rail, rubbing it with my palm as if I could receive an impression from it of all those who had touched it before me. At the bottom of the stone stairs, the black door called to me. It was one thing to dream, another to actually barge in upon one’s gods at play.

I took a step down, and another. A line occurred to me: In Petrograd, you go down into heaven. I took it as a sign, inspiration already arriving. How long did it take to traverse those dozen or so steps? The worn egg-shaped doorknob fitted itself to my hand. I trembled as I pushed it open.

No absinthe-reeking netherworld awaited us, no flocked walls or tufted sofas, no hookahs. Instead, we found ourselves in a smoky cellar, walls and ceilings covered with Sudeikin’s folk-style birds. People drank perched on straw stools at small tables, or along the banquettes that lined the walls. Smoke hung thick as fog, and on a bare stage a lithe dancer performed an angular modern choreography on top of a large mirror. “Karsavina,” my brother whispered excitedly. The great ballerina, on whom Fokine had launched so many of the Diaghilev ballets. We’d seen her at the Mariinsky Theater that season in Swan Lake, and here she was dancing on a mirror, one dark-haired Karsavina above and an upside-down one below, as if floating in midair.

We huddled in the entryway, trying to take in as much of the scene as we could before the portly owner, busy with the two gentlemen in front of us, could notice the presence of a quartet of underage spies and toss us out. Luckily, there was a disagreement over the admission price. “Hey,” the first man said, “you didn’t charge the people who came in just before us.”

“Yes, but they’re artists,” said the proprietor. “You’re pharmacists. Twenty-five rubles.”

I prayed they would argue until dawn. Those brilliant legs in their tights, multiplied by the mirror, formed a flashing kaleidoscope—she was close enough for us to see her little earrings, the pearls dangling. Although the pianist played a complex composition, to my ears cacophonous, she was able to find the line of it, while the audience members talked and watched and drank and cheered and stamped their feet.

Now came our turn to pass the Cerberus of the place, who scanned us with a jaundiced eye. “What have we here? Aren’t you a little young, kiddies?”

“This is Marina Makarova, the poet.” Varvara shoved me forward. “She just had a poem in the Echo.” It was true, though it was in the Children’s Corner.

He rubbed his moustache, tugged at his beard. “Give us a poem then.”

Which poem would open the cave of wonders?

I recited my “Waiting with Pushkin in Mikhailovskaya Square”:

A pigeon picks and pecks
In the poet’s brazen palm.
He weighs it like a merchant.
Which is heavier, my brother?
Your sweet immortal song or the
Living bird that nests upon your hand?

“All right,” said the proprietor. “No drinking. You, sign the book.”

He motioned me toward the Stray Dog register. I eagerly scanned the pages, the names, the names! Blok. Mandelstam. Tsvetaeva. Accompanied by scraps of poetry, little drawings. I signed, and my brother sketched a fast likeness of me underneath, impressing our host despite himself. A harried waiter with a moustache set us up at a tiny table squeezed into a corner by a coatrack.

“Absinthe all around,” Varvara ordered with an imperious sweep of her hand. Knowing I would be forced to pay, if push came to shove, I was grateful when the waiter replied, “Kvas,” that slightly alcoholic brew. But we never did get a bill. We were Artists, even at that age. Superior to the gawkers and tourists.

Seryozha already had his sketchbook open on the table and was furiously drawing, trying to capture everything all at once: patrons, waiters, Karsavina. I did the same in my own way—memorizing, trying to stuff my eyes like a suitcase. Meanwhile, Varvara, unimpressed but pleased with herself, rolled a cigarette and lit it, posing, as Mina waved the smoke away. Sprawled with some other odd characters on stools sat the great Mayakovsky. The futurist poet was unmistakable—enormous, broad-shouldered, ferocious, towering over his friends even while sitting down. But where was his famed yellow blouse? He had dressed simply tonight, disappointingly conventional in a plain jacket, shirt, and tie. My brother was seized with admiration. Turning the page, he rendered the man’s brooding form, his dark brow and heavy jaw, his massive back and profile.

And then I saw her. Anna Andreevna Akhmatova—all those marvelous As. Like sighs. Her shawl, her profile, the glossy black hair, her fingers gracefully looped into her beads. She sat with the poet Kuzmin, whom I recognized by his sleepy eyes, his thinning hair. On her other side lounged a beauty with golden curls who looked like an actress. She whispered something into Akhmatova’s ear, making her laugh. I was shocked—I hadn’t imagined the Tragic Muse could laugh. She was actually quite lively. I couldn’t stop staring, while my brother’s pencil flew and Mina fidgeted nervously. “We still have those exams, they’re not disappearing.” Varvara pretended she came here every day of the week, sipping her kvas, exhaling smoke.

Now Seryozha was sketching a hulking boy with tawny longish hair who sat by himself in another corner—shapeless jacket, scarf around his neck—watching like a great hungry bear. I’d never seen him before, but recognized one like myself. I knew that hunger. His eyes were only for Vladimir Mayakovsky. His hand went into his pocket every thirty seconds or so, pulled out some pages, put them back in again. Poet.

After Karsavina, the great futurist loped up to the small, curtainless stage. It took him about four steps. I’d read his manifesto: Through us the horn of time blows in the art of the world. The past is too narrow. The Academy and Pushkin are less intelligible than hieroglyphics. Throw Pushkin, Dostoyevsky, Tolstoy etc. overboard from the Ship of Modernity. What an egotist! Throw Pushkin overboard? Pushkin loved freedom more than anybody. Mayakovsky confused me, upset me. I, too, believed in the Future, but this kind of sweeping dismissal frightened me. Secretly it made me feel like I, too, would be thrown from the ship someday. Yet if he thought so, why did he come here? The place was filled with the very artists his futurist manifesto had so viciously attacked. Yet none of them seemed to give it a second thought. That night I realized that poetry was a brotherhood—that you could be furious at your brother and yet enjoy his company more than the company of most.

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