A textbook and resource guide store for school teachers, Lomonosov Street, Petersburg, today.
Source: Marina Varchenko, Facebook, 21 October 2022. Remarking on this post, “Marina Marina” wrote: “I got into a fight with a history teacher from Russia in the comments [to another social media post]. She doesn’t see any historical parallels at all. And she says that it was the Americans who made up the history of Ukraine. And that what she teaches there at home is the only truth in the world.” Translated by the Russian Reader
The second week of March 2022 again proved cheerless, to put it mildly, nullifying even more previously unshakable habits. Even the usual traces of the vital functions of urban birds are already causing vague fears in the wake of news reports about “foreign biological laboratories.” Of course, fear has big eyes, and there are spots on the Sun [of Russian poetry], but no matter how many worries we have, we can definitely say that nothing can spoil our hope and faith in the best outcome. Anikushin’s Pushkin is always washed in the spring, and since spring is already in full swing, he will soon be unblemished again. And then, before you know, we will be made cleaner ourselves!
Source: “Photo of the Week: Alexander Petrosyan on the Stained Sun of Russian Poetry,” 18 March 2022, Novyi Prospekt. Translated by the Russian Reader
Liberating a well-fortified city with a good engineering infrastructure is a big problem for the attacking side.
Despite all the difficulties, the fighters from Chechen Republic’s security forces, fulfilling their professional duty to protect the civilian population of the LPR, the DPR, and the whole of Ukraine from the encroachments of the Banderovites, Nazis, and Shaitans, have been coping with the tasks set by the leadership of the Russian Federation.
This time, another well-fortified Banderovite base was reclaimed by Russian troops. During this brilliant operation, a large group of civilians were released, whom the Nazis had been holding all this time without water, food, and medical care.
Our brave warriors helped the destitute and abandoned people to escape from the clutches of the Nazis. There were a large number of children among them, including infants. All the rescued were put into special vehicles and taken to a safe place. Chechen fighters provided them with food, water, medicines, and medical assistance.
It was nice to hear words of gratitude from civilians for the assistance, rescue, and warm attitude of our soldiers. Most importantly, people felt how well the Chechen liberators had been brought up.
The mission of holding captured positions and rescuing the civilian population of the liberated territories in Ukraine is being carried out by our fighters at the highest level. They are in a great mood and excellent fighting spirit, looking forward to a speedy victory.
Source: Chechen leader Ramzan Kadyrov’s Telegram account, 19 March 2022. Translated, so to speak, by the Russian Reader
‘The cast is a collection of privileged, mournful lishnii cheloveks (as the “superfluous men” in 19th-century Russian literature were known) in late middle age, squabbling in rural exile, wondering what the world is coming to and regretting the past.’
‘We are all lishnii cheloveks.’
— Guardian Weekly, 4 February 2022, p. 57
Pushkin Square, on Pushkinskaya Street in Petersburg’s Central District. Photographer (or artist?) unknown. Thanks to Sveta Voskoboinikova for pointing it out to me. Our house is on the right side at the end of the street, and I miss it and the view from it (which includes the square) very much. I’m prejudiced, but I think our Pushkin is the most fitting monument to Russia’s national poet because he is the most human and humane of the ones I’ve seen. Our Pushkin stands above us, of course, but he’s also our neighbor rather than a (literal) titan towering over us. ||| TRR
Officials Decide to Send Network Case Convict Viktor Filinkov to Single-Cell Room, Then to Punitive Detention Mediazona
November 11, 2021
Prison officials have decided to send Viktor Filinkov, convicted in the [Network] case, who was sent to Orenburg Correctional Colony No. 1 in August, to a single-cell room for a month, and then to a punitive detention cell for ten days. His public defender Evgenia Kulakova reported this turn of events to Mediazona.
According to Kulakova, yesterday the prison’s disciplinary commission decided to send Filinkov to a single-cell room [abbreviated EPKT in Russian, this is a prison within a prison for the most “unruly” or “dangerous” inmates] because of razor blades that, as the prisoner noted, had been planted [in his cell] by Federal Penitentiary Service officers on his birthday. The second penalty was imposed on the young man for “inter-cell communication.”
Filinkov was delivered to Orenburg Correctional Colony No. 1 in August after 45 days in transport. Since then, he has spent only three days in the general population. He has spent the rest of the time in a punitive isolation cell or strict conditions of detention.
On October 6, Filinkov received a month-long reprimand for his [alleged] refusal to sweep the exercise yard in the colony and transferred to a single-cell room. He was also put on a watch list as someone “prone to systematic violation of internal regulations.” Kulakova also said that on October 30, Political Prisoners Day, he went on a hunger strike.
Filinkov demanded freedom for all political prisoners and that he be moved from solitary confinement. A few days later he added a new demand — that books, newspapers and writing materials be brought to his cell. He ended his hunger strike on November 9.
In 2020, the Second Western District Military Court, sitting in St. Petersburg, sentenced Filinkov to seven years in a penal colony in the Network case. He was found guilty of involvement in a terrorist community (punishable under Article 204.5.2 of the Criminal Code). Filinkov was the first of the young men charged in the case to report that he had been tortured by the security forces.
The contemporary musical [kontemporari-myuzikl] Onegin’s Demon is the most successful assault on the classics and the first production in the best traditions of the Russian theater and Broadway.
The creators have decided to call a spade a spade. Few people remember that the poem “The Demon” was written by Pushkin as one of the chapters of Eugene Onegin.
If, as the musical’s libretto has it, in a house of sorrow in Paris you meet an old, crazy Onegin, forgotten by everyone, tormented by memories of past mistakes, then none other than his personal alter ego, his dark essence, his Demon lets him see his whole life again … and maybe change it.
He is Onegin’s Demon, the director and puppeteer of this unique musical. The creators have laid bare leitmotifs in the novel that had previously gone unspoken. The musical Onegin’s Demon is thus a bold artistic revelation that firmly etches itself in your memory.
Thanks to the 3D video content, the musical Onegin’s Demon can be safely called a movie musical, in which, unlike the cinema, there is no room for error. The musical Onegin’s Demon is a rare opportunity to see in person how, with no editing or multiple takes, real people resurrect the era of ardent romanticism in real time.
Tremble Pushkin purists: “Satan rules love”!* The play features a scene with a naked Tatyana… And does she stay with Onegin in the end? To whom will Tatyana be given?
You have the opportunity to find out firsthand!
Onegin – Vasily Turkin and Ivan Ozhogin
The Demon – Sergei Khudyakov
Tatyana – Alina Atlasova and Anastasia Makeyeva
Lensky – Anton Avdeyev
Olga – Natalia Fayerman
Tatiana and Olga’s Mother – Maria Lagatskaya
Nanny – Manana Gogitidze
Music: Anton Tanonov and Gleb Matveychuk
Book: Irina Afanasyeva, Maria Oshmyanskaya, Andrei Pastushenko and Igor Shevchuk
Choreographer: Dmitry Pimonov
Music Director: Anton Tanonov
Creative Producer: Artyom Gridnev
After the third bell, entrance to the auditorium is strictly PROHIBITED!
The musical is performed with one intermission.
Is it possible to produce theater that combines a musical, a movie, a 3D performance and a phantasmagoria, while being based on classical poetry? A few years ago, the idea might have seemed crazy. However, after the incredible, stunning success of the musical Onegin, the trend of boldly genre mash-ups has really taken off. The creators of Onegin’s Demon have gone even further: their new creation has even fewer references to Pushkin’s work and even more deep psychological plot lines that reveal the essence of Onegin’s personality through the lens of his demons. To understand the authors’ intention, you should see the results of their work in person. To make this happen you only need to buy tickets for the musical Onegin’s Demon at a Box Office Directorate ticket outlet or on our website.
The musical Onegin’s Demon undoubtedly risks breaking its predecessor’s popularity records, because this production has even more mystery, mysticism, amazing music, exciting vocal parts and, of course, ultra-modern special effects. The LDM’s New Stage, no matter how spacious it is, will hardly be able to accommodate everyone who wants to watch this show, so if you manage to get tickets to the musical Onegin’s Demon, you can count yourself lucky.
The Pushkin era — its fancy-dress balls, luxurious horse-drawn carriages, duelists and love letters — does not merely come to life on stage. We watch Onegin’s entire biography through the eyes of the character himself, now in his old age. We see with horror and pity what this romantic and slightly bored dandy has become. What are his sins? For what does this half-crazy lonely old man blame himself? And who is he really? Isn’t he the same evil demon who nurtured Eugen’s most negative character traits in his youth?
Many books have been written about alter egos, the individual’s mystical second self, about the ability of soul and body to split: just recall Jekyll and Hyde or the beautiful Dorian Gray. The story of Onegin’s demon is shrouded in the same mysticism and sinister mystery. The creators have made sure that the audience feels the madhouse atmosphere and the painful awareness of their own irreparable mistakes to the tips of their toes. Onegin/The Demon is excruciatingly beautiful, and he is complemented by the musical’s other characters. The stunning voices and fantastic music cause not only the hearts of the audience members who buy tickets to Onegin’s Demon skip more than once. They also make the walls of the LDM tremble.
* The line “Satan rules love” does not appear in Pushkin’s Eugene Onegin. As rendered by James Falen, chapter 4, stanza 21 of Pushkin’s great novel in verse reads as follows:
Of course the love of tender beauties Is surer far than friends or kin: Your claim upon its joyous duties Survives when even tempests spin. Of course it’s so. And yet be wary, For fashions change, and views will vary, And nature’s made of wayward stuff— The charming sex is light as fluff. What’s more, the husband’s frank opinion Is bound by any righteous wife To be respected in this life; And so your mistress (faithful minion) May in a trice be swept away: For Satan treats all love as play.
Source: Alexander Pushkin, Eugene Onegin: A Novel in Verse, trans. James E. Falen (Oxford UP, 1995). The emphasis is mine.
The love you get from tender beauties
Is surer than from kin or friend:
However turbulent its duties,
Your rights are honoured in the end.
That’s so. But then there’s whirling fashion
And nature’s wayward disposition,
And what the monde thinks is enough…
And our sweet sex is light as fluff.
And then, it is to be expected
That virtuous wives will all be true
To husbandly opinions, too;
Your faithful mistress has defected
Before you know it: love’s a joke That Satan plays on gentlefolk.
Our city contains many details, sometimes curious trifles that impart a homeyness and simplicity to its “austere, comely look,” to a city that is sometimes uptight and business-like. Among them was the tiny wooden house that stood for over sixty year at Lomonosov Street, 9, behind the fence next to the old entrance to the Refrigeration Industry Institute.
This unpretentious hut, which resembled the huts you see nowadays on garden plots in the countryside outside the city, was partly a matter of pride to me, since it was a rare specimen of wooden construction in the heart of the city, and its designer was my granddad Ignaty Malakhovich Yerofeyev. Neither an architect nor even a carpenter, Ignaty was an ordinary caretaker.
Ignaty and his family arrived in Leningrad in 1929 from the village of Gogolevka, Smolensk Region, having left behind the house he had built there. Physically strong, thrifty, and intelligent, he had got his family away from the collectivization campaign. In Leningrad, he took a job as a caretaker. At first, the family had to live in a basement.
The family survived the Siege of Leningrad. Granddad remained at his job, while my father, who was fourteen years old in 1941, worked in a factory. Their peasant skills came in handy in the spring of 1942, when all the land in the institute’s yard was repurposed into vegetable gardens.
Only after the war did the family get permission to move into an apartment on Lomonosov Street, 9, to which its former occupants had not returned. This house was my home, just like the yard, in which there were three whole gardens. The poplars growing in them were also planted by my granddad and his friend Grandpa Kostya, who had also arrived from Gogolevka during the year of the so-called Great Break (velikii perelom).
Built by Ignaty Malakhovich in the early post-war years, the little house by the gate was the caretaker’s hut, which housed his scant collection of equipment. When I was born, Granddad was already retired, but he still really enjoyed relaxing on the bench he had placed next to the hut.
In 1968, the institute’s residential building was resettled and enlarged, and the little garden were practically destroyed. The hut, which was all we ever called it, was vacant for several years. Later, it was turned into a gatehouse, before becoming a security checkpoint in the 1990s. It was slightly rebuilt. The porch was removed, and it was repainted from green to brown.
Walking down Lomonosov Street, I always enjoyed looked at our family relic. The last time I passed through this familiar place, in April of this year, I was disappointed to see the old gatehouse was gone, replaced by a cheap-looking construction trailer.
I entered my old yard. A security guard immediately emerged from the depths of the yard and demanded I leave the premises. When I asked him where the hut had gone, he replied, “It was taken away for restoration.” I didn’t believe it. Soon I repeated the same route and stopped by the yard again. The run-in with the guard was repeated, although another man was on duty. Surprisingly, he also said the hut had been taken away for restoration.
“Can’t you see this is a temporary shed?” the security guard exclaimed angrily.
His angry question was music to my ears. Oh, how wonderful it would be if Granddad’s hut were returned to its place.
Alexei Yerofeyev is a board member of the Petersburg Union of Amateur Local Historians. Translated by the Russian Reader. Thanks to Comrade Koganzon for the heads-up
This morning I got an urgent message from a friend, alerting me to the fact a funny sounding exhibition of photographs was underway at a downtown photo gallery I had never heard of.
It was true, as my friend pointed out, that the announcement for the show, an exhibition of portraits of Eastern Ukrainian pro-Russian separatist fighters (opolchentsy), taken by Petersburg photographer Mikhail Domozhilov, sounded quite dicey politically, as posted on the website of the exhibiting gallery, ARTOFFOTO.
It sounded a little less outwardly partisan when translated into English and printed on the flyers I would later find lying on a windowsill in the gallery:
“The self-proclaimed and still unrecognized state [of the] Donetsk People’s Republic appeared as a result of a civil war in Ukraine in April, 2014. The Donbass People’s Militia became the driving force of the new republic. In the year that passed after the declaration of the DPR, its militia transformed from an anarchic group of super activists [sic] divided into small groups and willing to go weaponless and die for an idea into a regular army with all its necessary attributes—[a] code [of military conduct], subdivisions [sic] and their chiefs, headquarters and machinery.
“This episode is about transition and transformation, about a shaky equilibrium between belonging to one country and to another, utopic in its essence. And also about the self-identification of the participants throughout the conflict. In several months former miners, builders, mechanics have become professional warriors, and a new, extreme reality has replaced the ordinary one. With major destruction, artillery shelling and [a] non-continuous front, these people suddenly found themselves in the middle of historical events and news reports.
“This episode includes several close-up portraits of militia members in mobile studios at military and training bases, as well as on [the] frontlines.”
(English-language flyer for the exhibition Mikhail Domozhilov, Militiaman’s Pass [Opolchenskii Bilet], ARTOFFOTO Gallery, Bolshaya Konyushennaya, 1, Saint Petersburg, January 15–February 3, 2016)
It was also true that the photographer, Mr. Domozhilov, had shown a penchant in his career for subjects that might be characterized as rightist, such as this fascinating series on the ultras for Petersburg’s Russian Premier League side, FC Zenit.
The ultras series featured virtuosic albeit historically and aesthetically coded works such as this.
On the other hand, Mr. Domozhilov’s tearsheets included portraits, just as compelling, of pro-Ukrainian fighters on the Maidan in Kyiv.
But I did not think it fair to pronounce judgement on the work on the basis of a couple of websites, so I set off into the winter wonderland that Petrograd has become in the last week to see the show for myself.
Alexander Pushkin was like the Prophet Elijah or something, and a Putinist avant la lettre, according to Sergei Nekrasov, director of the National Pushkin Museum in Petersburg, as quoted by the dubious FAN (Federal News Agency):**
Пушкин предугадал постоянные столкновения с Западной Европой и вообще с Западом. Он предугадал бездуховное, но мощное и наступательное развитие Северо-Американских Соединенных Штатов, как тогда говорили. Он не питал иллюзий по поводу США. Все говорили: «Ах, новая страна! Демократия!» — и так далее. Но Пушкин в своих записках в этом крепко усомнился.
[“Pushkin foresaw the constant clashes with Western Europe and the West in general. He foresaw the soulless but powerful and aggressive evolution of the United States of North America, as they were then called. He had no illusions about the United States. Everyone said, ‘Ah, a new country! Democracy!’ and so on. But in his memoirs Pushkin strongly questioned this.”]
Today, June 6, is Pushkin’s birthday, by the way. If the great poet had not been gunned down by French national Georges d’Anthès in 1837 as part of a plot engineered by fifth columnists, foreign agents, and foreign-funded local NGOS, he would have been 216 today and still, no doubt, thrilling us with his poignant verses and chilling prophecies.
Maybe he would have even been a contestant on the reality TV show Битва экстрасенсов (Battle of the Psychics).
Thanks to KV, a true connoisseur of Russian language and literature, for the heads-up.
** She pointed to a board that displayed a makeshift directory of the building’s current occupants. The names were printed out on small scraps of paper, and none of them were Internet Research. But I did recognize one: “FAN,” or Federal News Agency. I had read some news articles claiming that FAN was part of a network of pro-Kremlin news sites run out of 55 Savushkina, also funded by Evgeny Prigozhin. Former Internet Research Agency employees I had spoken to said they believed FAN was another wing of the same operation, under a different name. I asked to speak to someone from FAN. To my surprise, the receptionist picked up the phone, spoke into it for a few seconds and then informed us that Evgeny Zubarev, the editor in chief of FAN, would be right out to meet us. (Adrian Chen, “The Agency,” The New York Times Magazine, June 2, 2015)