A little late with this, but I meant to mark Boris Pasternak's birthday this week (Feb. 10, 1890). It would be hard to express how much his work meant to me when I was first finding my way into the world. In later years, I had three brief, indirect contacts with Pasternak, beyond his work. In the mid-1990s, I went to his house in Peredelkino, remarkably preserved since his death in 1960, and got to spend a few minutes in his upstairs study, where he'd written his late verse and much of Doctor Zhivago. That same day, after a long, convoluted search, I found his grave nearby. Then a few years after that, in the downstairs den of a well-appointed house in Oxford, I came face to face with Pasternak's oldest son, Yevgeny -- by then an old man. He had come to Oxford for the opening of an exhibition of paintings and drawings by his grandfather, Leonid, Boris's father. They were to be shown at the Ashmolean Museum, but for now, before the opening, many of them had been hung throughout this private house, the home of the poet Craig Raine, who is married to Boris Pasternak's niece, Anne Pasternak Slater. It was some sort of open house for the paintings, I suppose; I don't remember how I heard about it, but I lived a couple of blocks away at that time, so I went over. I didn't expect to see Pasternak's son there. He was standing just across from me, chatting with someone; I thought I saw something of his father's face in him. I wanted to say something to him, shake his hand, but I hung back. I didn't know if he spoke English, and I knew my own poor Russian couldn't sustain even a light conversation very far; I was afraid of embarrassing myself, I suppose. I wouldn't hang back today, but it's too late. The moment has passed. (And Yevgeny Borisovich died in 2012, at the age 89.) But I was glad I saw him, glad for the other fleeting contacts.
Below are a couple of previously posted pieces on Pasternak, just to mark (belatedly) the occasion.
From February 2010:
From April 2008:
Immortal Communion: One Lowly Word and the Subversion of Power
Boris Pasternak's novel, Doctor Zhivago, is best remembered for its star-crossed love story and its sweeping panorama of the Russian Revolution – themes amplified in David Lean's 1965 film version, a beautiful travesty which has largely supplanted the book in the public mind. But within his conventional narrative of shattering passions and historic upheavals, Pasternak subtly diffuses a deeply subversive philosophy that overthrows power structures and modes of thought that have dominated human life for thousands of years. Yet remarkably, this far-reaching, radical notion is based on one of the most humble concepts and lowly words in the Russian language: byt.
The word has no precise equivalent in English, but in general it means the ordinary "stuff" of life: the daily round, the chores, the cares and duties, the business and busyness that drives existence forward. The connotations of byt are not always positive; it is frequently associated with another Russian word, poshlost', a more pejorative term for the miserable muck of daily life that can trap a noble soul yearning for transcendent heights – for shattering passions and historic upheavals, perhaps. Benjamin Sutcliffe has described this association well in his extensive analysis of the notion of byt in Russian literature by women:
"The 'everyday' is a problematic concept that Russian culture consistently links with women. Byt is not only povsednevnaia zhizn' (daily life), but also a corrosive banality threatening higher, often intellectual aspirations…. Vladimir Nabokov connects byt to poshlost', the soul-killing realm of the crass and insensitive. In an even more sepulchral metaphor, Andrei Siniavskii compares Soviet culture to a pyramid: the grandiose grave of a hollow society whose time has passed. Byt is the sum of both those constituent parts, often seen as 'women’s work' (care for the self, care for others, maintaining a household) and the negative adjectives ascribed to them: petty, small-scale, mundane, exhausting, repetitive, and ultimately deadening."
In contrast to this mundane and deadening level stands the realm of the transcendent: the "great questions" of life, the grand abstractions – nation, faith, ideology, honor, prosperity, family, security, righteousness, glory – for which millions fight and die. It's the world of power, fuelled by the dynamic of dominance and servitude – a dialectic that governs relationships in every realm: political, economic, religious, artistic, personal. Everywhere, hierarchies abound, even among the most professedly egalitarian groups, from monasteries to movie sets, from ashrams to activist collectives. Everywhere we find, in Leonard Cohen's witty take, "the homicidal bitchin'/That goes down in every kitchen/To determine who will serve and who will eat."
This, we are given to understand, is the real world, the important world, far above the tawdry, tedious humdrum that fills the dead hours between epiphanies and exaltations. The Russian Revolution is of course one of history's great manifestations of this dynamic, where the "transcendent," world-shaking abstractions of ideology and high politics (imperialism, capitalism, revolution, Bolshevism) uprooted whole nations and produced suffering and dehumanization on an almost unimaginable scale. The modern era's "War on Terror" bids fair to surpass the Revolution in this regard, with its wildly inflated rhetoric and grand abstractions, its epiphanies of violence and exaltations of terror – on both sides – inflaming a conflict that has already devoured nations and destabilized the entire globe. The dominance paradigm – so thoroughly worked into our consciousness, so ever-present in our interactions, large and small, public and private – is the engine driving this vast machinery of death and ruin.
But below this "higher plane" lies the reality of byt. Far from the soul-killing muck that Nabokov found so distasteful, in Pasternak's hands the true nature of byt is revealed: creative, sustaining, nurturing, an infinite source of meaning. For the most part, the novel conveys this indirectly, in passages where Pasternak shows us byt in action – people going about their work, having quiet conversations, preparing food, fixing stoves, tending gardens, washing floors – or in the richly detailed backgrounds and descriptions given for minor characters who pop up briefly in the narrative then are rarely, perhaps never, seen again.
Over the years, some critics have decried these passages as the clumsy strokes of a fictional amateur, a poet gamely trying and failing to match the rich plenitude of Tolstoy's novels. (And to be fair, the English translations of the novel, though serviceable, are hobbled by clunky prose that ill-serves the original Russian.) But surely Pasternak, a writer of immense talent and intelligence, knew exactly what he was doing with these portions of the novel. The "clumsy" strokes that brake and complicate the grand narrative are central to the book's meaning. "Zhivago" means "the living," its root word is "life." And life is immense, comprising every aspect, every atom of reality. "Life, always one and the same, always incomprehensibly keeping its identity, fills the universe and is renewed in every moment in innumerable combinations and metamorphoses," as Zhivago says at one point. It is in the careful observation and deeply felt experiencing of the details of daily life that the meaning of existence can be found – or rather, consciously created.
Elsewhere in the novel, Pasternak deals with more openly with this theme, especially in one of the book's central chapters, made up of a diary that Zhivago keeps when his family have been driven from Moscow by the privations of the Revolution – and by Zhivago's own political unreliability, which stems from his refusal to hew to any party line and its grand, impersonal abstractions, its distorted caricatures of the infinite complexities of human reality. They are living off the land, deep in the countryside, their whole life taken up by the struggle to survive: byt in its starkest terms. Only at night, their work done, can they turn to their books, the handful of Russian classics they've taken with them into exile.
The whole chapter is like a marvelous concerto, blending and concentrating all of the novel's themes and variations in what appears to be the most artless of forms: the ramblings of a private journal. Among the many passages that illustrate the relation of byt to the "overworld," the realm of dominance and hierarchy, this one stands out:
"What I have come to like best in the whole of Russian literature is the childlike Russian quality of Pushkin and Chekhov, their shy unconcern with such high-sounding matters as the ultimate purpose of mankind or their own salvation. It isn't that they didn't think about these things, and to good effect, but they always felt that such important matters were not for them. While Gogol, Tolstoy and Dostoevsky worried and looked for the meaning of life and prepared for death and drew up balance-sheets, these two were distracted, right up to the end of their lives, by the current individual tasks imposed on them by their vocation as writers, and in the course of fulfilling these tasks they lived their lives quietly, treating both their lives and their work as private, individual matters, of no concern to anyone else. And these individual things have since become of concern to all; their work has ripened of itself, like apples picked green from the trees, and has increasingly matured in sense and sweetness."
Of course, the supreme irony of the relation between the humble, private, "pointless" world of byt and the "real world" of power and exaltation is that the former is actually where any genuine "transcendence" can be found, while the latter is the merely the outgrowth of our most primitive and meaningless urges.
For what is the desire to "project dominance," to erect hierarchies, but the elaboration of the same unconsidered instinctual drives that underlie the social structures of the animal world? You can see it in any colony of apes (although they too have their forms of sustaining, nurturing byt). I've written of this elsewhere, but I think it has some application in this context as well:
Is it not time to be done with lies at last? Especially the chief lie now running through the world like a plague, putrescent and vile: that we kill each other and hate each other and drive each other into desperation and fear for any other reason but that we are animals, forms of apes, driven by blind impulses to project our dominance, to strut and bellow and hoard the best goods for ourselves. Or else to lash back at the dominant beast in convulsions of humiliated rage. Or else cravenly to serve the dominant ones, to scurry about them like slaves, picking fleas from their fur, in hopes of procuring a few crumbs for ourselves.
That's the world of power – the "real world," as its flea-picking slaves and strutting dominants like to call it. It's the ape-world, driven by hormonal secretions and chemical mechanics, the endless replication of protein reactions, the unsifted agitations of nerve tissue, issuing their ignorant commands. There's no sense or reason or higher order of thought in it – except for that perversion of consciousness called justification, self-righteousness, which gussies up the breast-beating ape with fine words and grand abstractions…
Beyond the thunder and spectacle of this ape-roaring world is another state of reality, emerging from the murk of our baser functions. There is power here, too, but not the heavy, blood-sodden bulk of dominance. Instead, it's a power of radiance, of awareness, connection, breaking through in snaps of heightened perception, moments of encounter and illumination that lift us from the slime.
It takes ten million forms, could be in anything – a rustle of leaves, the tang of salt, a bending blues note, the sweep of shadows on a tin roof, the catch in a voice, the touch of a hand. Any particular, specific combination of ever-shifting elements, always unrepeatable in its exact effect and always momentary. Because that's all there is, that's all we have – the moments.
The moments, and their momentary power – a power without the power of resistance, defenseless, provisional, imperfect, bold. The ape-world's cycle of war and retribution stands as the image of the world of power; but what can serve as the emblem of this other reality? A kiss, perhaps: given to a lover, offered to a friend, bestowed on an enemy – or pressed to the brow of a child murdered by war.
Both worlds are within us, of course, like two quantum states of reality, awaiting our choice to determine which will be actuated, which will define the very nature of being – individually and in the aggregate, moment by moment. This is our constant task, for as long as the universe exists in the electrics of our brains: to redeem each moment or let it fall. Some moments will be won, many more lost; there is no final victory. There is only the task.
And of course, that's what byt entails, in both its literal sense and in the heightened, deepened understanding of Pasternak's art: the task, the work, the busyness of sustaining life.
One last passage from Zhivago provides a striking encapsulation of this, although a word should be said about the Christian symbolism it employs – a symbolism worked deeply into the plan and language of the entire novel. As Pasternak told one interviewer, the religious symbols were "put into the book the way stoves go into a house – to warm it up. Now they would like me to commit myself and climb into the stove." Later he added: "The novel must not be judged on theological lines. Nothing is further removed from my understanding of the world. One must live and write restlessly, with the help of new reserves that life offers. I am weary of this notion of faithfulness to a point of view at all cost. The great heroic devotion to one point of view is very alien to me – it's a lack of humility."
Here Pasternak, like his Zhivago, resists adherence to any party line, even one that he finds enormously congenial, like Christianity. It is not in pious certainties but in the humble, shifting, temporary coalescences of everyday existence, in byt, that some measure of always-imperfect, always-provisional meaning can be found.
But the languages of faith – structures that for centuries were the chief embodiment and expression of the human yearning for illumination, encounter and escape from the brutalities of dominance and servitude – can still serve as vehicles to convey a deeper reality, as Pasternak shows here, in the voice of one of his characters, the philosopher Nikolai Vendenyapin:
"I think that if the beast who sleeps in man could be held down by threats – any kind of threat, whether of jail or retribution after death – then the highest emblem of humanity would be the lion-tamer with his whip, not the preacher who sacrificed himself. But don't you see, this is just the point – what has for centuries raised man above the beast is not the cudgel but an inward music: the irresistible power of unarmed truth, the attraction of its example. It has always been assumed that the most important things in the Gospels are the ethical teaching and commandments. But for me the most important thing is the fact that Christ speaks in parables taken from daily life, that he explains the truth in terms of everyday reality. The idea that underlies this is that communion between mortals is immortal, and that the whole of life is symbolic because the whole of it has meaning."
Immortal communion, in the transient, private, churning flow of byt: this is what Pasternak offers as an alternative to the violent estrangement of the "overworld," to its violence and fear, its bombast and lies. This lowly word could bring down empires, and stands in defiance of death itself.