Somehow Beso, lurking in Tiflis, discovered Soso as a potential source of wine-money: he went to see Stalin’s rector and demand his son back: “Make him leave because I need someone to take care of me!” Stalin was “unmoved,” wanting to alleviate “the hardship of Beso and people like him,” but repelled by the man himself.
“Once,” recalled Stalin, “the nightwatchmen came in and told me that my father was outside.” The boy hurried downstairs and “saw him standing there. He didn’t even ask about me but just said briskly: ‘Young man, sir, you’ve totally forgotten your father, haven’t you? I’m leaving to work in another town.’”
“How would I have any money to help you?” replied Stalin.
“Shut up!” shouted Beso. “Give me at least 3 roubles and don’t be as mean as your mother!”
“Don’t yell!” replied Soso. “This is my boarding-school. If you don’t leave now, I’ll call the watchmen and they’ll make you go.”
The “threat worked,” recounted Stalin. “Father slunk away into the streets, muttering something.”{58}
In the holidays, Soso returned to Gori to see the doting Keke. Even though he “was starting to grow a beard, he still nestled up to me like a five-year-old.” But he spent most of his time staying with his lame, well-off friend Mikha Davitashvili in his village, Tsromi. When he returned for the next term, Stalin did even better, winning another “excellent” and moving up to number five in his year. And he started to work on his verse.
At the end of term, Soso took his poems to the offices of the famous newspaper Iveria (Georgia), where he was received by the country’s greatest poet, Prince Ilya Chavchavadze, a romantic nationalist who believed in an agrarian Georgia ruled by an enlightened aristocracy.
The Prince was sufficiently impressed to show the teenager’s work to his editors. He admired Stalin’s verse, choosing five poems to publish—quite an achievement. Prince Chavchavadze called Stalin the “young man with the burning eyes.” He was admired in Georgia as a poet before he was known as a revolutionary.{59}
6. The “Young Man with the Burning Eyes”
Georgia regarded herself as an oppressed kingdom of knights and poets. The poems in Iveria, published under Stalin’s nickname “Soselo,” were widely read and became minor Georgian classics, appearing in anthologies of the best Georgian poetry before anyone had heard of “Stalin.” Deda Ena, a children’s anthology of Georgian verse, produced between 1912 and the 1960s, included Stalin’s first poem—“Morning” in its 1916 edition. It remained in subsequent editions, sometimes ascribed to Stalin, sometimes not, up to the days of Brezhnev.
Stalin’s singing, now that he was an adolescent tenor, was said to be good enough for him to go professional. As a poet he showed a certain talent in another craft which might have provided an alternative to politics and bloodletting. “One might even find reasons not purely political for regretting Stalin’s switch from poetry to revolution,” believes Professor Donald Rayfield, who translated the poems into English. Their romantic imagery was derivative but their beauty lay in the delicacy and purity of rhythm and language.
The scans and rhymes of his poem “Morning” work perfectly, but it was his sensitive and precocious fusion of Persian, Byzantine and Georgian imagery that won plaudits. “No wonder,” reflects Rayfield, “the doyen of Georgian letters and politics, Ilya Chavchavadze, was willing to print this poem and at least four others.”
Soselo’s next poem, a crazed ode “To the Moon,” reveals more of the poet. A violent, tragically depressed outcast, in a world of glaciers and divine providence, is drawn to the sacred moonlight. In his third poem, Stalin explores the “contrast between violence in man and nature and the gentleness of birds, music and singers.”
The fourth is the most revealing. Stalin imagines a prophet not honoured in his own country, a wandering poet poisoned by his own people. Now seventeen, Stalin already envisions a “paranoiac” world where “great prophets could only expect conspiracy and murder.” If any of Stalin’s poems “contained an avis au lecteur,” writes Rayfield, “it is this one.”
Dedicated to Georgia’s beloved poet[29] Prince Raphael Eristavi, Stalin’s fifth poem was, with “Morning,” his most admired. It was this that inspired Stalin’s State Bank “inside man” to give him the tip-off for the Yerevan Square bank robbery and it was good enough to be included in Prince Eristavi’s jubilee volume in 1899. Its heroic sage requires both the harp and the sickle.
The last poem, “Old Ninika,” which appeared in the socialist weekly Kvali (Plough), affectionately describes an old hero who “dreams or tells his children’s children of the past,” perhaps a vision of an idealized Georgian like old Stalin himself, who ended up sitting on his Black Sea verandah regaling youngsters with his adventures.
Stalin’s early verses explain his obsessional, destructive interest in literature as dictator as well as his reverence for—and jealousy of—brilliant poets such as Osip Mandelstam and Boris Pasternak. The words and influence of this “Kremlin crag-dweller” and “peasant-slayer” on literature were, as Mandelstam wrote in his famously scabrous poem denouncing Stalin, “leaden,” his “fat fingers… greasy as maggots.” But, ironically, the swaggering brute rightly notorious for his oafish philistinism concealed a classically educated man of letters with surprising knowledge. Stalin never ceased caring about poetry. Mandelstam was right when he said, “In Russia, poetry is really valued, here they kill for it.”
The ex–romantic poet despised and destroyed modernism but promoted his distorted version of romanticism, Socialist Realism. He knew Nekrasov and Pushkin by heart, read Goethe and Shakespeare in translation, and could recite Walt Whitman. He talked endlessly about the Georgian poets of his childhood, and he himself helped edit a Russian translation of Rustaveli’s Knight in the Panther Skin, delicately translating some of the couplets himself and asking modestly: “Will they do?”
Stalin respected artistic talent, generally preferring to kill Party hacks instead of brilliant poets. Hence on Mandelstam’s arrest Stalin ordered, “Isolate but preserve.” He would preserve most of his geniuses, such as Shostakovich, Bulgakov and Eisenstein, sometimes telephoning and encouraging them, at other times denouncing and impoverishing them. When he called Pasternak in one of his telephonic lightning-strikes from Olympus, he asked about Mandelstam: “He’s a genius, isn’t he?” Mandelstam’s tragedy was sealed not only by his suicidal decision to mock Stalin in verse—the medium of the dictator’s own childhood dreams—but also by Pasternak’s failure to assert that his colleague was indeed a genius. Mandelstam was not sentenced to death, but nor was he preserved, perishing on the dystopian road to Gulag hell. But Stalin did preserve Pasternak: “Leave that cloud-dweller in peace.”
The seminary’s priest-poet of seventeen never publicly acknowledged his poems, but he later told a friend, “I lost interest in writing poetry because it requires one’s entire attention—a hell of a lot of patience. And in those days I was like quicksilver”—the quicksilver of revolution and conspiracy that was now flashing through the youth of Tiflis and into the seminary.{60}
29
Stalin was immersed in Georgian poetry: he loved Eristavi; Chavchavadze was “a great writer with a huge role in the freedom movement of Georgia;” and he enthused about Akaki Tsereteli: “My generation learned the poems of Tsereteli by heart and with joy… beautiful, emotional and musical, he’s rightly called the nightingale of Georgia.” But, looking back, Stalin also measured these poets politically, saying Tsereteli wrote “beautiful poems but ideologically primitive and parochial.” Stalin was not the only poetical future Bolshevik: at exactly the same time, at his school in Odessa, young Leon Bronstein, the future Trotsky and near contemporary, was also writing poems. Trotsky far outstripped Stalin as a writer but not as a poet. If any of Stalin’s colleagues had dedicated a poem to a prince, it would have been used against them in the Terror. In 1949, for Stalin’s official seventieth birthday, the Politburo magnate Beria secretly commissioned the best poetical translators, including Boris Pasternak and Arseni Tarkovsky, to create a Russian edition of the poems. They were not told the author of the poems but one of the poets thought “this work is worthy of the Stalin Prize first rank,” though perhaps they had guessed the identity of the young versifier. In the midst of the project, they received the stern order, clearly from Stalin himself, to stop the work.