The Cambridge Introduction to Russian Literature

234 The Cambridge Introduction to Russian Literature

and events, providing few external markers to help orient the reader; the time is simply night, when Anna Adrianovna writes it all up. What never changes, however, regardless of season, is the lack of space, food, and privacy. Locks are always being changed, doors slammed or pried open, and sooner or later some mouth, usually male, will turn up and eat the fridge empty. Or steal money. Anna begs bread, soup, and candy from her hosts and employers to feed her grandson, neglecting (she tells us) her own needs. She considers herself a martyr and tries to win our support.

As always in an Underground, the speaking voice is defensive, boastful, consumed by self-hate fused with self-love, and embattled. But again our heroine differs from the resident of Dostoevsky’s parent text. The original Underground Man’s existence is static. Half of his “confession” is a recollection of events already many years past. The entire document is enclosed, closed off, with its crises already well rehearsed and stylized. This is one reason why a “philosophy” can be so easily extracted from the Notes. As so often is the case in Dostoevsky, life is used to illustrate an idea. Petrushevskaya gives us no abstract philosophy as such. Real people are still trying to live down there.

Of all the interactions in this stressed three-room apartment, the relation between mother and daughter is the most complexly double-voiced, allowing us some relief from Anna’s strident grip on the narrative. Lengthy direct dialogues and several embedded texts inspire our trust: Alyona’s na¨ıve diary of sexual initiation and subsequent humiliations, found and read by her mother who intersperses her own mocking comments, and then a strange entry written by Anna in the voice of her daughter (based on one of their hysterical exchanges). “That’s the scene I wrote,” Anna announces petulantly in her own voice; “fully self-critical, completely objective, though why on earth you might well ask” (p. 94). In some stretches of text, it is utterly unclear which side of Anna’s voice to believe; they seem to coexist in perfect, if hostile, balance. This situation is routine in Dostoevsky’s Underground, of course, where a single voice divides against itself. In Petrushevskaya, whole scenes divide, scrambling and compromising the speakers. Alyona has just called her mother, hinting that she’s very ill. Who will take care of her baby daughter, Alyona whimpers, now that another child is due to be born in two weeks (Anna didn’t know):

. . . what the whole conversation amounted to was this: Mummy, help me, hoist just one more burden on your back, you’ve always come to my rescue before, rescue me now – But daughter, I haven’t the strength to love yet another creature, I’d be betraying the boy, he couldn’t take it . . . – But what am I to do, Mum? – Nothing, I can’t do any more to help, I’ve given everything, my darling, all the money I have, my darling, my sunshine – I’m going to die, Mum, it’s terrible . . . (pp. 99–100)