Tim Parks: “All of narrative fiction, I’ve suggested, can be sorted into four grand categories. Each presents a rich world of feeling in which any number of stories can be told and positions established, but always in relation to, or rather, driven by, a distinct cluster of values and consequent emotions. My claim is that it really is worth being aware which of these worlds we are being drawn into. We read better. We know where we are. And what the dangers are.” – New York Review of Books
I have just read Vasily Grossman’s Stalingrad (New York Review Books, 2019), which leads me to the poetry of Boris Slutsky (1919-1986). Here is the co-translator (with his wife Elizabeth) of Grossman’s novel, Robert Chandler, in his introduction to the Slutsky selection in The Penguin Book of Russian Poetry(Penguin Books, 2015):
“What nearly all his poems have in common is a focus on the specific and a wariness of dogma. Slutsky is a careful, modest explorer of human experience, closer to Chekhov or Vasily Grossman than to Tolstoy or Solzhenitsyn. Slutsky did, in fact, know Grossman. During the late 1950s, when both were living in the same building, Slutsky regularly read his new poems aloud to Grossman or left him copies of poems he had recently typed out.”
To call Stalingrad a war novel is misleading. Yes, the Nazis advance on the city and the Soviet military and civilians defend it, but much space is devoted to domestic and work life – parents, spouses, children, lovers, coworkers, neighbors. Family is the heart of the novel. No one is unimportant to Grossman. Don’t pigeonhole his novel with The Naked and the Dead. Similarly, Slutsky writes no hymns to hydroelectric projects. His themes are preeminently human and close to home. Chandler writes in his introduction:
“Slutsky wrote about the war, about the Shoah, about various aspects of his Jewish heritage, about Stalin, about returnees from the camps, about other writers, about almost every aspect of everyday life.”
In “All Rules Are Incorrect” (early 1960s, trans. Stephen Capus) Slutsky is at once defiant and traditional:
“All rules are incorrect,
all laws remain perverse,
until they’re firmly set
in well-wrought lines of verse.
“An age or era will
be merely a stretch of time
without a meaning until
it’s glorified in rhyme.
“Until the poet’s ‘Yes!’,
entrusted by his pen
to print, awards success
to this or that – till then
“the jury will be out,
the verdict still in doubt.”