The Grand Old Lady of Russian letters has some weird tales to tell.
Nina had always been a disorganised person who let things go; thus her leave from the newspaper to go `freelance` and the apparent total unravelling of her life…. She ate, she drank…and they didn’t need any money, since every day the young fisherman would bring the fruits of the sea home to them.
`Who is he? ` I asked, and Nina, without any hesitation answered that he was the son of Poseidon, god of the sea, that he could breathe underwater, that he brought home literally everything from there….
For all the reputation for `chauvinism` that still sticks to Russian society, the fact remains that one of its most revered authors is a woman, an elderly woman at that. Moreover, Ludmilla Petrushevskaya is neither a veteran critic of Soviet repression like a Solhenitzyn, nor someone exulting in the shiny new capitalism like a Sergey Minaev. As such, this writer, playwright and novelist can offer the Western reader a fresh take on how a great many Russians really think and feel.
Amongst the nation’s best-known contemporary writers, Petrushevskaya cuts a figure of a sort of literary godmother. From her thirties this Muscovite has been producing stories and plays and following a long period of being disregarded came to prominence in the 1980s when her dramas – compared by some to Harold Pinter’s -were seen as fit to be performed. Then as she reached fifty her first book of short stories saw print in Russia.
Now these tales have been translated into English by two Americans, Ann Summers – a Slavic literature academic – and the Moscow born Keith Gessen, founder of `n+1` magazine. Penguin Modern classics have collected them under the title There Once Was A Woman Who Tried To Kill Her Neighbour’s Baby which hit the shelves in 2009.
This collection is made up of 19 short tales grouped into four categories: Songs of the Eastern Slavs, Allegories, Requiems and Fairy Tales. They defy easy categorisation but the tag `magical realism` is a hard one to avoid. Readers who have encountered Vladimir Sorokin might also be reminded of him, but her work relies less on shock tactics.
To a British reader they offer not such a great challenge as similar developments occurred in British fiction in the same general period. I am thinking of The Cement Garden period Ian Mc Ewan (or `Ian Macabre` as he was then sometimes dubbed) as well as the Gothic fantasias of Angela Carter.
Petrushevskaya tells us of women, married couples and families who undergo strange life and death situations. Some of these invoke the supernatural, others can be accounted for in terms of psychology but in all cases individual experience is paramount. Whilst Petrushevskaya avoids local and historical references it is clear that it is the seedy apartments of the Russia of the Eighties to the present day that she is showing us.
Two of her stories – `Hygiene` and the infamous `The New Robinson Crusoes: A Chronicle of the End of the Twentieth Century` function as sketches of dystopian catastrophe. In the former, for example, a man who has recovered from a mystery plague knocks on the door of a family apartment to warn them of the coming social collapse. This does indeed occur but the family survives through robbery, although end up having to quarantine their own daughter.
Others such as `The God Poseidon` (quoted from above) and `The Black Coat` can be enjoyed as supernatural chillers. It would not be difficult to imagine them being anthologised in the more thoughtful type of Horror collection sandwiched between Robert Aickman and Ramsey Campbell. (Indeed Petrushevskaya won a World Fantasy award for this book in 2009).
`There is Someone in the House` however, suggests a study in morbid psychology whereas `Marllena`s Secret` is a bold fantasia and `My Love` an extended exercise in tragic pathos.
Her prose is spare but with enough observant detail to bring some reality to her fables. The fast paced narrative is told by an earthy and unsentimental voice, which is matter-of-fact, and without overt humour. The resulting effect – pithy and sensational- resonates in the West as much as it does in Russia. She has been on the New York Times bestseller list.
Petrushevskaya casts a flamboyant figure, dressing like a grand dame and singing cabaret. From not being able to get published in her own country at all she has become its national treasure, an icon of survival.
There Once Lived a Woman Who Tried to Kill Her Neighbour’s Baby: Scary Fairy Tales by Ludmilla Petrushevskaya, translated by Keith Gessen and Anna Summers is published by the Penguin Group (London: 2009)
(The above quotation is from p-85, `The God Poseidon`).
