In 1929 the Soviet Union wrenched into Veliky Perelom (The Great Turn). As embodied in the first Five-Year Plan, this fantastically, fanatically ambitious project aimed to industrialize the country full throttle—at the expense of everything else. Long-backward Russia was to be transformed into “a country of metal, an automobilizing country, a tractorized country,” in Stalin’s booming phrases. Rationing reappeared, privileging industrial workers and leaving poorer peasants to fend for themselves.
The first thing to be rationed was bread. “The struggle for bread,” growled Stalin, with an echo of Lenin, “is the struggle for socialism.” Meaning the Soviet State would brook no more trouble from its 80 percent.
The furies of collectivization and “dekulakization” were unleashed now on the countryside. Up to ten million kulaks (that toxically elastic term) were thrown off their land, either killed or shipped to prison-labor settlements known after 1930 as the gulags, where great numbers died. The rest of the peasant households were forced onto kolkhozes (giant collective farms overseen by the state), from which the industrial engine could be dependably fed (or at least that was the idea). Peasants resisted this “second serfdom” by force, destroying their livestock on a catastrophic scale. By 1931 more than twelve million peasants had fled to the towns. In 1933 the country’s breadbasket, the fertile Ukraine, would plunge into man-made famine—one of the great tragedies of the twentieth century. Roads were blocked, peasants forbidden to leave, reports of the ongoing devastation suppressed. A dead peasant mother’s dribble of milk on her emaciated infant’s lips had a name: “the buds of the socialist spring.” Out of the estimated seven million who died in the Soviet famine, some three million perished in the Ukraine.
From these horrors Soviet agriculture would never recover.
By this point Lenin had been dead for almost ten years.
Dead—but not buried.
Following his long, mysterious illness (the “syphilis” whispers of many decades have lately reintrigued historians) Lenin expired in effective isolation on January 21, 1924. Stalin, a seminarian in his youth, understood the power of relics and was one of the early proponents of keeping the cadaver “alive.” At a 1923 Politburo session he’d already proposed that “contemporary science” offered a possibility of preserving the body, at least temporarily. Some Bolsheviks howled at the reek of deification. Krupskaya objected too, but nobody asked her.
From January 27 on, Lenin’s body lay in state at the unheated Hall of Columns in Moscow. The weather was so bitter that the palm trees laid on inside for the funeral froze. An icy fog hung over Red Square; mourners were treated for frostbite. But the cold helped preserve the “mournee” for a while.
The idea to replace the temporary embalmment with something eternal apparently arose spontaneously among the Funeral Commission—swiftly renamed the Immortalization Commission. Refrigeration was being mulled over, but as the weather warmed the body deteriorated, and the Commission panicked. Enter Boris Zbarsky, a self-promoting biochemist, and Vladimir Vorobyev, a gifted provincial pathologist. The pair proposed a radical embalming method. Miraculously, their wild gambit worked. Even a reluctant Krupskaya later told Zbarsky: “I’m getting older and he looks just the same.”
So the USSR had a New Soviet Eternal Man. Proof in the flesh that Soviet science could defeat even the grave. Socialist reshaping of humanity, it seemed, had soared beyond wildest imagining—far beyond a new everyday life. The antireligious Bolshevik of Bolsheviks, who had ordered clergy murdered and churches destroyed, was now a living relic, immortal in the manner of Orthodox saints.
From August 1924 on, the miraculous Object No. 1 (as it would later be code-named) preened for Red Square crowds inside a temporary wooden shrine created by the Constructivist architect Alexei Shchusev. Shchusev would go on to build the permanent mausoleum, the now iconic ziggurat of red, gray, and black stone the inner sanctum of which I was so desperate to penetrate as a child. The mavzoley was unveiled in 1930, but without particular fanfare. By then the USSR had a successor-God, one who was relegating Lenin to hazy Holy Spirit status.
Lenin, incidentally, transmigrated from this distant, idealized Spirithood into warm and fuzzy dedushka-hood during the Brezhnevian phase of his cult. That’s when the didactic cake stories became popular, along with that silly iconographic cap on his bald head—asserting Ilyich’s modest, friendly, proletarian nature.
The country would by then be wary of God-like personality cults.
PART II
LARISA
CHAPTER THREE
1930s: THANK YOU, COMRADE STALIN, FOR OUR HAPPY CHILDHOOD
Like most Soviet kids of her time, my mother was raised on stories by Arkady Gaidar. Gaidar’s tales are suffused with a patriotic romanticism that doesn’t ring insincere even today. They fairly brim with positive characters—characters who know that the true meaning of happiness is “to live honestly, toil hard, and deeply love and protect that vast fortunate land called The Soviet Country.” Mom was particularly struck by a story titled “The Blue Cup.” After overcoming a spell of conflict, a young family sits under a tree ripe with cherries on a late-summer night (spring and summer, one ironic critic remarked, being the only two seasons permissible in socialist realism). A golden moon glows overhead. A train rumbles past in the distance. The main character sums things up, closing the story: “And life, comrades, was good… entirely good.”
This phrase filled my five-year-old mother with alienation and dread.
To this day she can’t really explain why. Her parents, youthful, striving, and faithful to the State, exemplified Gaidarian virtues and the Stalinist vision of glamour. Liza, her mother, was a champion gymnast, an architect, and a painter of sweet watercolors. Naum, her father, possessed a radiant smile and a high, honest forehead to go along with his spiffy naval caps, which smelled of the foreign cologne he brought back from frequent trips abroad. If Mom and her younger sister, Yulia, were good, Naum would let them pin his shiny badges on their dresses and dance in front of the mirror. On his rare days off he’d take them to the Park of Culture and Relaxation named after Gorky.
Mother had a second father, of course. Like her kindergarten classmates, she began each school day gazing up at a special poster and thanking him for her joyous, glorious childhood. On the poster the youthfully middle-aged Genius of Humanity and Best Friend of All Children was smiling under the black wings of his mustaches. In his arms a beautiful little girl also smiled. With her dark hair cut in a bowl shape, the girl reminded Mom of herself, only with Asiatic features. She was the legendary Gelya (short for Engelsina, from Friedrich Engels) Markizova. Daughter of a commissar from the Buryat-Mongol region, she came to the Kremlin with a delegation and handed a bouquet of flowers to the Supreme Leader, whereupon he lifted her in his arms, warming her with his amused, benevolent gaze. Cameras flashed. After appearing on the front page of Izvestia, the photograph became one of the decade’s iconic images. It was reproduced on millions of posters, in paintings and sculptures. Gelya was the living embodiment of every Soviet child’s dream.
Comrade Stalin kept a watchful eye over Mom and her family, she was sure of that. And yet a pall hung over her. Life, she suspected, was not “entirely good.” In place of big bright Soviet happiness, my mother’s heart often filled with toska, a word for which there is no English equivalent. “At its deepest and most painful,” explains Vladimir Nabokov, “toska is a sensation of great spiritual anguish…. At less morbid levels it is a dull ache of the soul.”