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• 1 2021-12-15T01:28:41+00:00 Religion in Russian Prison Literature 59 Xenya Currie image_header 2021-12-16T00:56:33+00:00

  Russian prison literature, or works written in the Russian language which pertain to experiences of incarceration, spans a long history, ranging from the seventeenth century to the present. Works in this literary tradition can be autobiographical, memoiristic, fictional, nonfictional; they can take the form of prose and poetry, novel and short story. Despite the great range of time over and circumstances in which works in this tradition have been written, various nodes of specificity emerge as continuous throughout many Russian prison texts. One such recurrent node is religion and appeals to religious belief, practice, and imagery. This is not to suggest that such appeals to religion appear in every single work in the tradition of Russian prison literature; rather, religion emerges as a relevant theme in various works throughout the tradition. This encyclopedia entry seeks to chronologically and non-comprehensively survey some such manifestations of religiosity in Russian prison literature.
  
  17th Century
  
  The Life Written by Himself
  
  One of the first works in the tradition of Russian prison literature was Archpriest Avvakum’s The Life Written by Himself, written from approximately 1669 to the mid-1670s. Avvakum Petrov (1620/1–1682) was an Old Believer, an Eastern Orthodox Christian who opposed the reforms to the Russian Orthodox Church introduced by Patriarch Nikon in the seventeenth century. In the Life, Avvakum recounts his experiences of imprisonment, exile, and persecution for his religious dissent. Avvakum’s Life establishes a model of the Russian prison text, one identifiable aspect of which is religiosity, that will be followed by later writers. Avvakum’s engagements with religion are immediate—he begins the Life with an appeal to the “[a]ll-holy Trinity” (Avvakum 37)—and persistent: he frequently references Biblical passages, recounts praying for divine aid, and retells experiences of God working miracles through him. That Avvakum frames his text as an hagiographic saint’s life reveals his self-presentation as a saint and a martyr. Key for Avvakum is the idea that “a true Christian [...] not only [...] live[s] in tribulations even unto death for the sake of the Truth, but passing away in ignorance of the world, [...] liveth forever in wisdom” (Avvakum 38). In appealing to this religious conviction and the ideal of Christ’s kenosis, Avvakum imbues his incarceration with religious significance, suggesting that despite his external imprisonment and suffering, he is in fact an internally liberated participant in divine wisdom.
  
  19th Century
  
  Notes from a Dead House
  
  Fyodor Dostoevsky's (1821–1881) 1862 Notes from a Dead House “was the first published account of life in the Siberian hard-labor camps” (Pevear xii). Dostoevsky’s semi-autobiographical account of his eight years of hard labor and military service after his arrest serves to humanize those who are incarcerated, a project imbued for him with religious significance. Although Notes from a Dead House’s fictional narrator Goryanchikov suggests throughout the text that his fellow prisoners are transparently legible to him, Dostoevsky’s spiritual transformation recounted in the appendix reverses this perception. A transcendent childhood encounter with the peasant Marey, who “could not have given [Dostoevsky] a look shining with more radiant love” (303) when comforting the frightened young Dostoevsky by praying that “Christ be with [him]” (302) and doing the sign of the cross, facilitates Dostoevsky’s recognition of the depth of Marey’s inner experience, regardless of his “dirt-covered” physical appearance (303). This revelation transforms Dostoevsky’s perception of those with whom he was imprisoned, such that “all the hatred and anger in [his] heart [...] vanished completely” (303). The emergent project, of affording both Dostoevsky’s fellow prisoners and Marey “respect for [their] human dignity,” is, for Dostoevsky, a deeply religiously-motivated type of vision (111).
  
  20th Century
  
  "After the Ball"
  
  Leo Tolstoy's (1828–1910) short story “After the Ball,” written in 1903 and published posthumously in 1911, also engages with religious imagery. Tolstoy experienced a profound spiritual crisis and transformation in the 1870s; as one of his post-crisis works, “After the Ball” employs religious imagery as a plea for sympathetic mercy. Religion serves to temporally place the story’s events, for Ivan Vasilyevich notes that it occurs during Butter Week, a religious and folk holiday celebrated the week before Russian Orthodox Lent begins. After the eponymous ball, Ivan Vasilyevich encounters a Tatar being beaten for desertion, whose repeated pleas for mercy are ignored by the colonel, the father of Ivan Vasilyevich’s love interest Varenka. The horror of the merciless violence to which the Tatar is subjected involuntarily invites invocations of God, for the blacksmith utters “O Lord” at the sight (Tolstoy 278). Tolstoy’s text condemns this violence through Ivan Vasilyevich’s affective response to it, for he experiences “an anguish that was almost physical to the point of nausea” and falls out of love with Varenka (278). Paralleling the Tatar’s suffering to Christ’s encourages Tolstoy’s reader to display the compassionate mercy, which the colonel fails to demonstrate, for the plight of prisoners and victims of state-sanctioned violence.
  
  Memoirs of a Revolutionist 
  
  Vera Figner's (1852–1942) 1927 memoir, Memoirs of a Revolutionist, recounts her experience of imprisonment for over twenty years for her participation in the assassination of Tsar Alexander II in 1881. Figner’s religious belief fortifies her throughout the suffering she endures, allowing her to feel “[c]alm and radiant” as she “looks firmly ahead, fully conscious of the fact that what is coming cannot be escaped or averted” (Figner 205). That she regards Christ’s life as an ideal “example of self-sacrificing love” helps her understand her incarceration as a test of her willingness to suffer “for that good which [s]he has longed to attain, not for [her] own transitory self,” but for the sake of others (205). Although the prison, as a “living grave” (205), seeks to deny those imprisoned within it their human dignity, Figner encounters fellow prisoners who conduct themselves with profound goodness, such as her friend Ludmila Alexandrovna, a “loving, self-sacrificing spirit” who goes out of her way to avoid stepping on insects (202). Figner also finds comfort in an icon, given to her by her mother after her trial, of the “Most Holy Virgin of Joy Unexpected,” the sight of which encourages Figner to seek the small joys, without which prison life would be unendurable (228).
  
  "Requiem" 
  
  Religious imagery appears in Anna Akhmatova’s (1889–1966) poetic cycle “Requiem,” written between 1935 and 1961 about the Stalinist terror. Akhmatova parallels her son’s suffering to Christ’s, synecdochally encouraging sympathy for all incarcerated in the gulags and the “tall cross [they] bear” (Ehre 362). Yet Akhmatova’s appeals to the religious imagination also encourage a sympathetic understanding for the plight of those left behind, outside of the gulag; in section X, ‘Crucifixion,’ Akhmatova analogizes not only her son to Christ but also herself—and all the other women, particularly mothers, waiting in the prison lines—to Mary, the Mother of God. Akhmatova emphasizes the response to the crucifixion of the women who witnessed it. Mary is set apart because her grief, like Akhmatova’s, is so profound that it emerges as unwitnessable: although those around can gaze upon “Mary Magdalene trembl[ing] and we[eping]” and John “turn[ing] to stone,” “no one dared to lift his eyes / Where His Mother stood, silent and alone” (364). This invocation of religion encourages a recognition of the intensity of maternal grief which, Akhmatova suggests, both she and the Theotokos experience at their sons’ suffering.
  
  The Gulag Archipelago: An Experiment in Literary Investigation
  
  Aleksandr Solzhenitsyn’s (1918–2008) The Gulag Archipelago: An Experiment in Literary Investigation, one of the best-known works of Russian prison literature, brings to light the horrors of the Soviet gulag system. Solzhenitsyn engages with religion to suggest that imprisonment permits a greater degree of internal freedom than is otherwise accessible without incarceration, for prison offers him “a free head” even when his “feet [cannot] run along” (Solzhenitsyn 607). Furthermore, prison “causes the profound rebirth of a human being,” through which one’s personality, character, and soul are transformed (604). This transformation carries, for Solzhenitsyn, a religious dimension, as it helps him realize that “[o]nce upon a time [he was] sharply intolerant,” “never forgave anyone,” and “judged people without mercy” (611). His carceral experiences also facilitate his spiritually-motivated conviction that he is unwilling to survive at any price when survival at any price entails survival “at the price of someone else” (603). As incarceration enables the “soul, which formerly was dry, [to ripen] from suffering” (611), it is Solzhenitsyn’s time in the gulag which helps him “come to love [his] neighbors in the Christian sense” and to attain a greater degree of internal freedom despite external imprisonment (603). 
  
  Bibliography 

  Akhmatova, Anna. “Requiem,” translated by Milton Ehre, Literary Imagination: The Review of the Association of Literary Scholars and Critics 6.3, 2004, pp. 358–365. 
  
  Dostoevsky, Fyodor. Notes from a Dead House. Translated by Richard Pevear and Larissa Volokhonsky, Vintage-Random House, 2016.
  
  Figner, Vera. Memoirs of a Revolutionist. Authorized Translation from the Russian, Northern Illinois University Press, 1991. 
  
  Petrov, Avvakum. The Life Written by Himself. Translated by Kenneth N. Brostrom, Michigan Slavic Publications, 1979, pp. 35-113.
  
  Pevear, Richard. Foreword. Notes from a Dead House, by Fyodor Dostoevsky, translated by Richard Pevear and Larissa Volokhonsky, Vintage-Random House, 2016, pp. vii–xvi. 
  
  Solzhenitsyn, Aleksandr. The Gulag Archipelago: An Experiment in Literary Investigation III-IV. Translated by Thomas P. Whitney, Harper & Row Publishers, 1975, pp. 597-617. 
  
  Tolstoy, Leo. “After the Ball.” Tolstoy’s Short Fiction: Revised Translations, Backgrounds, and Sources Criticism, edited by Michael R. Katz, 2nd ed., W.W. Norton & Company, New York, NY, 2008, pp. 271–279.