Monumental Propaganda

Monumental Propaganda by Vladimir Voinovich What a funny & touching satirical book! It might help if one has read the 19th century Russian classics (in translation for me) or some 20th century Gorky, Sholokhov, Mayakovsky, Trotsky, "Abram Tertz" or Solzhenitsyn, but perhaps our having been bombarded with cold war news stories over our lives will be enough. Even too much! But read the other reviews here at Avalon, all good so far (8.18.09). The evo/devolution of the Soviet Union is seen through the tired eyes of a communist woman & mother, a Partisan hero of the Great Patriotic War, a Stalinist from the mid 30's before that, & still worshiper of Stalin, even after the 20th Congress denunciation. She remains faithful throughout all the changes. She rescues Stalin's statue, which uneasily begins ro remind us of Mozart's Commandatore & Pushkin's Bronze horseman, from its trip to the junkyard, & keeps it in her decrepit living room, & longs for the past. As one of the characters says, in former times everyone was in separate cages, including the fewer predators. But now all the cages are open & the predators can eat anyone at any time, whereas in the past they could only eat some at certain times. One can certainly sympathize with most of these Russian people. All about her the citizens of her provincial town shift with the times: communists become democrats, dissidents become communists or patriots or get baptized; criminals become oligarchs "with thick gold chains around their thick necks." With a laugh or perhaps uneasy smile & optimistic sigh of relief, we're glad that "It can't happen here!"

I read this book in Russian and then in English. I cannot find a better book that would describe what life was like in the USSR. It is fun to read, and it is full of hillarious situations for which I remember many equivalent real-life situations. A definite must-read for those who think that life was not bad in the USSR!

Vladimir Voinovich was an official soviet writer until the late 1960s when he began to write satires that were to close to the truth and was eventually 'allowed' to leave the Soviet Union in 1980 (good riddens, pootai, and don't come back). His books about the Soviet Army and Soviet Bureaucracy are classic in their denouncement of the 'nomenklatura' who ran the Soviet Union under communism. This story is about a Soviet Communist Party member who was part of the groups that left the cities and forced collectivization, dekulakization and war communism. Afterwards she was a regional/district leader who was a died in the wool Stalinist. During the "Great Patriotic War" she fought as a Partisan, and sacrificed her husband by blowing up an electric generating plant while he was still in it. As the Soviet Union stagnates after WW2, she is slowly pushed aside first by the changes under Khruschev (who she calls 'old baldie') and then by Brezhnev and lastly by the "New Russians" under Yeltsin (that drunken moron). In between we are treated to several well written paens against the waste of Communism (pollution, the nomenklatura being treated above and beyond the 'people' and the stagnation of anything outside the 'officially' approved anything). The title refers to a saying by Lenin (one of many, and some by Stalin) that are like lead ins for John Stewart of the Daily Show: what the People need is to be taught, and taught through propaganda, but now just propaganda, but Monumental Propaganda. In other words, you must overwhelm people with the information you want them to know, make it bigger than life (which is just what Lenin did, except that Hitler got better at it than the Russians ever did) so that it becomes part of the culture.

Most Soviet dissident authors wrote with a heavy, albeit masterful, hand. Authors such as Aleksandr Solzhenitsyn, Boris Pasternak, Vasily Grossman and Anatoly Rybakov painted on a broad canvass, penning literary frontal assaults on the Soviet regime. Vladimir Voinovich has always taken a different approach. Where the others fought oppression with outrage, Voinovich fought oppression with satire and wit. His narrower, almost miniature approach was directed at the small absurdities of an apparatchik-governed regime that lacked many things, most notably a sense of humor. From the Extraordinary Adventures of Ivan Chonkin, the Fur Hat, to the Ivankiad, Voinovich took dead aim at the Soviet bureaucracy. His writing was funny, acerbic, and acclaimed in the West. He also took steps to secure the publication of other writer's works in the West. Most notably, Voinovich was responsible, in part, for getting a microfilmed copy of Vasily Grossman's masterpiece, Life and Fate delivered to a publisher in Switzerland. We may never have seen Grossman's brilliant work if not for Voinovich. He also publicly defended Solzhenitsyn in the 1960s and 1970s although that relationship has now turned sour. As a result, Voinovich became as much a threat to the Soviet regime as any of the other, more somber authors. By 1980, Voinovich was stripped of his Soviet citizenship and exiled to West Germany. Responding to a decree issued by Brezhnev asserting that Voinovich had brought the Soviet regime into disrepute, Voinovich issued a counter-decree that stated: "Mr. Brezhnev, you have highly over estimated my activities. I did not undermine the prestige of the Soviet Government. Thanks to the efforts of the Soviet leadership and your own efforts, the Soviet government has no prestige. Therefore, to do justice, you should deprive yourself of citizenship." Voinovich's wit, and his struggles with the Soviet government informs his Monumental Propaganda. Monumental Propaganda is set in the city of Dolgov. Its two primary characters are Aglaya Stepanova Revkina (who was a minor character in Chonkin) and a large, iron statue of Stalin. The story opens in 1956 when word gets back to Dolgov of Khrushchev's denunciation of Stalin at the 1956 party conference. Aglaya is horrified. She is a war hero, a life time communist, and more than anything else devoted to Comrade Stalin. The story takes us from 1956 to the present. As the world and Dolgov changes, Aglaya remains unshaken in her devotion to Stalin. Shortly after the denunciation, the town's party leaders tear down Stalin's statue and plan to haul it to a factory for smelting. Aglaya will have none of that. She manages to have the statue installed in her apartment where it remains for the rest of her life. Aglaya loses her position and her party membership because of her unflinching devotion to Stalin. The statue carries with it an almost supernatural presence, one that the town and the world, unlike Aglaya would like very much t

Vladimir Voinovich, in his first novel in twelve years, begins this satiric tale in Dolgov, a small town outside Moscow in 1949, when Aglaya Stepanova Revkina, a devoted follower of Josef Stalin, persuades the Committee to erect a piece of "monumental propaganda," a statue of Stalin, in the square. Mediocre sculptor Max Ogorodov miraculously creates a statue that is extraordinarily lifelike, seeming to breathe on its pedestal. Focusing on Aglaya and the statue, from the "glories" of the Stalin Era through Krushchev, Brezhnev and his successors, including Gorbachev, and on up to the present, the novel illustrates satirically the successive changes in Soviet philosophy and focus. These new visions of reality always involve some sort of terror. When Stalin falls from grace, Aglaya falls, too, and when the party determines that the statue of Stalin will be purged from the square, Aglaya arranges with the salvager to convey the statue to her living room, which, with its 3-meter high ceilings, is just high enough for it. She becomes a reluctant part of the poor local community, as first one version of truth and then another comes into fashion and rules the country. By 1961, Aglaya finds that "the party has been polluted by an alien element," but when Krushchev is deposed, she is saddened to learn there will be no return to Stalinism. For twenty years, as various philosophies come and go, she is like a sleepwalker, immune to her surroundings. Eventually, her party is disbanded, and, ironically, a casino is built on the premises. As the spirit of capitalism affects Dolgov and inspires some of its least admirable characters, a cottage industry in assassination evolves. The novel illustrates fifty years of change in Soviet political theory through exaggerated characters. Because they serve a satirical purpose and their thinking and experiences are so different from our own, it is difficult to see them as humans and to identify with their actions. Aglaya herself is a caricature who does not change. The narrative is told in simple, often amusing, episodes, but the names of the characters follow the Russian tradition of three names and usually one nickname, and are difficult to follow. Although the prose is formal and the speaker is remote, this satire is often very funny, however, and ironies and absurdities abound. Thoughtful and full of profound observations, the novel should appeal to those with a strong interest in Soviet history and literature and a curiosity about contemporary Russian life. Mary Whipple