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6 - The Gulag Work Ethic: Aleksandr Solzhenitsyn’s One Day in the Life of Ivan Denisovich

Published online by Cambridge University Press:  05 March 2025

Julian Murphet
Affiliation:
University of Adelaide
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Summary

When it was a bit warmer, they all talked on the march, however much they were yelled at. But today they kept their heads down, every man trying to shelter behind the man in front, thinking his own thoughts.

A convict's thoughts are no freer than he is: they come back to the same place, worry over the same thing continually. Will they poke around in my mattress and find my bread ration? Can I get off work if I report sick tonight? Will the captain be put in the hole, or won't he? How did Tsezar get his hands on his warm vest? Must have greased somebody's palm in the storeroom, what else?

Because he had eaten only cold food, and gone without his bread ration at breakfast, Shukhov felt emptier than usual. To stop his belly whining and begging for something to eat, he put the camp out of his mind and started thinking about the letter he was shortly going to write home.

The column went past a woodworking plant (built by zeks), past a housing estate (zeks again had assembled these huts, but free workers lived in them), past the new recreation center (all their own work, from the foundations to the murals – but it was the free workers who watched films there), and out onto the open steppe, walking into the wind and the reddening sunrise. Not so much as a sapling to be seen out on the steppe, nothing but bare white snow to the left or right.

The artless artfulness of Solzhenitsyn's prose strikes a balance between an emphasis on objective, contextual determinism (how the weather, the guards, the immediate physical circumstances oblige his characters to behave) and the surly subjectivism of his protagonist's free indirect discourse. In the sparks thrown off by the friction between these two registers the narrator finds opportunities either to make general statements and (much rarer) moral judgements, or to render them implicitly. The first site of tension in a narrative explicitly organised around a single winter's day is between the generally iterative (the abstract repetitiousness of prison narration familiar from Berkman and Pound) and the seasonally adjusted temporal continuum of a largely outdoor Gulag existence.

Type
Chapter
Information
Prison Writing in the Twentieth Century
A Literary Guide
, pp. 92 - 107
Publisher: Edinburgh University Press
Print publication year: 2023

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