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Aleksandr Solzhenitsyn's the Gulag Archipelago Quin Deducere Deos

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Aleksandr Solzhenitsyn's the Gulag Archipelago Quin Deducere Deos RONALD VROON (Philadelphia, U.S.A.) Literature as Litigation: Aleksandr Solzhenitsyn's The Gulag Archipelago Quin deducere deos in hoc genere dicendi et inferos exitare concessum est; urbes etiam populique vocem accipiunt. Quintilian, Institutio oratoria, IX, ii.31 Liubia ottianut' nachal'stvo na zakonnykh osnovaniakh, ia chasten'ko taratoril im ètu stat'iu .... Aleksandr Solzhenitsyn, Arkhipelag GULag, III, 146. The Gulag Archipelago is perhaps the most controversial of Aleksandr Sol- zhenitsyn's works. The publication of the first volume was heralded as "a po- litical event of major importance in the development of Soviet power."' It gave rise to a series of official actions-the expulsion of the author from his homeland, the jamming of radio stations, the launching of massive propaganda campaigns-that are unprecedented in the history of belles-lettres.2 Since that time the storm has subsided, and with the appearance of the third volume, those who are more interested in Solzhenitsyn the artist than Solzhenitsyn the polemicist are in a better position to deal dispassionately with the work. We are now free to turn our attention from the title to the subtitle: An Essay 3 in Artistic Investigation. 1. George F. Kennan, "Between Earth and Hell," in Aleksandr Solzhenitsyn: Critical Essays and Documentary Materials, ed. John B. Dunlop, Richard Haugh and Alexis Kli- moff, 2nd ed. (New York: Collier Books, 1975), p. 505. 2. For a review of circumstances surrounding the publication of The Gulag Archi- pelago, see Michael Nicholson, "The GulagArchipelago: A Survey of Soviet Responses," in ibid., pp. 477-500. 3. A. Solzhenitsyn, Arkhipelag GULag 1918-1956. Opyt khudozhestvennogo issledo- vaniia, 3 vols. (Paris: YMCA Press, 1973-75). Hereafter citations will be given in the body of the text by volume (Roman numerals) and page number (Arabic numerals). Quotations in English, for the most part, follow the translation in The Gulag Archipelago 1918-1956: An Experiment in Literary Investigation, trans. Thomas P. Whitney (vols. I and II) and Harry Willets(vol. III) (New York: Harper & Row, 1973-78). I have, in some instances, considerably revised the translation in the interests of accuracy and/or stylistic similitude. For a review of Whitney's translation, see Alexis Klimoff, "Translating Sol- zhenitsyn (cont'd): The Gulag Archipelago,"in Dunlop, pp. 636-49. 214 A number of critics have attempted to make literary sense of the work, but with mixed results. Christopher Moody sees it as a pastiche of autobiographi- cal passages, tabular entries, short biographies, lyrical digressions and philo- sophical notes 4 Andrej Kodjak, George F. Kennan and Francis Barker, among others, also speak of the work as an essentially heterogeneous composition.5 Alexander Schmemann suggests that the subtitle is designed to "challenge the accepted categories and classifications" of both literature and scholarly in- vestigation, and that Solzhenitsyn has synthesized these two modes of dis- course in order to recreate the experience of the camps.6 These observations are all true enough, but they fail to deal with the fundamental question which must be answered if we are to view The Gulag Archipelago as a coherent whole: what is the nature of that synthesis? In order to answer that question, one must consider the primary audience to which The Gulag Archipelago is addressed: the people of the Soviet Union. Their spontaneous reaction to the work, though manifestly political, provides us with a very important clue to its literary mode. Let us briefly consider . some typical orthodox and dissident evaluations: A) Solzhenitsyn endeavors to prove that the violations of legality were not a deviation from the norms of a socialist society, but proceeded from the very nature of socialism. It makes sense that the publica- tion of his slanderous works directed against socialism as a social sys- tem, against everything that is created and affirmed by the creative labor of the Soviet people, is not permitted in the Soviet Union.7 B) We demand: 1) that The Gulag Archipelago be published in the USSR and that it be made available to every one of our compatriots; 2) that archival and other data be published which would give a full picture of the activities of the Cheka-GPU-NKVD-MGB; 3) that an international public tribunal be created to investigate the crimes committee .... 8 4. Christopher Moody, Solzhenitsyn, rev. ed. (New York: Harper & Row, 1975), pp. 185-86. 5. See Andrej Kodjak, Alexander Solzhenitsyn (Boston: Twayne Publishers, 1978), pp. 135-36; Kennan, "Between Earth and Hell," p. 502; Francis Barker, Solzhenitsyn: Politics and Form (New York: Harper & Row, 1977), p. 88. 6. Alexander Schmemann, "Reflections on The Gulag Archipelago," in Dunlop, pp. 516, S 23.Another comparable approach has been to view the work as an "anti-documen- tary," a literary response to Socialist Realism which uses the techniques of journalism and memoirs to reveal the truth about Soviet reality. See Luellen Lucid, "Solzhenitsyn's Rhetorical Revolution," Twentieth Century Literature, 23, No. 4 (Dec. 1977), 511-15. 7. I. Solov'ev, "Put' predatel'stva," Pravda, 14 Jan. 1974, p. 4. This article was the first editorial response of the Party paper to Solzhenitsyn's book. 8. Andrei Sakharov,Elena Bonner,Vladimir Maksimov,et al., "Appeal from Moscow," in Dunlop, p. 458. This is a collective open letter to the Soviet authorities by a number of leading dissidents. .
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