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Lyudmila Petrushevskaya's Fairy Tales LYUDMILA PETRUSHEVSKAYA'S FAIRY TALES: BETWEEN SUBVERSION AND TRADITION IZABELA ZDUN Department of Languages, Literatures, and Cultures Russian Studies McGill University August 2019 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Izabela Zdun, 2019 Table of Contents Abstract (English) i Abstract (French) ii Acknowledgements iii Note on Transliteration and Abbreviations iv Introduction 1 Chapter I 29 The Structure and Language of the Fairy Tale: Between the Spoken and the Written Word Chapter II 77 The Distinctive Categories of the Fairy Tale: Between the Improbable and the Possible Chapter III 157 The Functions of the Fairy Tale: Between Disenchantment and Re-enchantment Conclusions 219 Works Cited 228 Abstract The vast scholarship on Lyudmila Petrushevskaya's works pertains almost exclusively to her prose and drama and focuses largely on the dark side of man and life. The ensuing one- sidedness does not offer a full appraisal of her complexity as a writer. In an attempt to redress the imbalance in critical studies and enrich the understanding of Petrushevskaya's achievement, the present dissertation focuses on Petrushevskaya's fairy tales and reveals an image of Petrushevskaya as a writer whose worldview is at odds with the well-established focus on the chernukha of her prose and drama. My first task is to situate Petrushevskaya's fairy tales within the postmodern creative practice of fairy-tale writing and discuss them within the context of the contemporary fairy tale entering into dialogue with the traditional fairy tale. My second, interrelated task is to locate Petrushevskaya's fairy tales in a broader critical context. The question I pose is why a major writer such as Petrushevskaya reaches for the fairy-tale genre today, and what implications this literary choice has for Russian culture today. I argue that turning to the fairy-tale genre is for Petrushevskaya a way to gain a critical distance that allows for reflection on the traumatic past and the horrors of everyday life. Apart from the sociopolitical vector, the rationale behind Petrushevskaya's drawing on the old genre has a spiritual dimension. I see Petrushevskaya's fairy tales as, on the one hand, inscribed in the poetics of postmodernism—as they spotlight fragmentation and chaos and follow the creative and critical impulse of subversion. On the other hand, they are written in the poetics of postrealism—albeit in a new form, they return to tradition and reflect on the ideological and spiritual crisis in contemporary Russian culture. i CONTES DE LUDMILA PETROUCHEVSKAÏA: ENTRE SUBVERSION ET TRADITION Résumé L’immense littérature consacrée aux travaux de Ludmila Petrouchevskaïa est presque exclusivement dédiée à sa prose et ses pièces de théâtre en s’intéressant le plus souvent aux côtés sombres de l’humain et de la vie. La lecture partiale qui en découle ne permet pas d’apprécier pleinement la complexité du travail de cette auteure. En vue de rétablir un certain équilibre dans les études critiques, et pour enrichir la compréhension de l’œuvre de Petrouchevskaïa, la présente thèse s’intéresse aux contes en dévoilant une image de Petrouchevskaïa reconnue comme auteure dont la vision du monde est en rupture avec l’accent mis sur le chernukha de sa prose et de ses pièces de théâtre. Ma première tâche consiste à situer les contes de fées de Petrouchevskaïa à l’intérieur d’une pratique esthétique postmoderne du genre du conte, et de les discuter dans le contexte du conte contemporain en entrant aussi en dialogue avec la tradition du genre. Ma seconde tâche, liée à la précédente, consiste à les positionner à l’intérieur d’un contexte critique plus vaste. Ce qui m’intéresse de prime abord est la question de savoir pourquoi une écrivaine aussi importante que Petrouchevskaïa se consacre au genre du conte et de déterminer les implications de ce choix littéraire pour la culture russe contemporaine. Je soutiens que le travail de Petrouchevskaïa relativement au genre du conte lui permet de prendre une distance critique en vue de mieux analyser un passé traumatisant de même que les horreurs de la vie. Hormis ce vecteur socio- politique, une autre raison pour laquelle Petrouchevskaïa se consacre à ce vieux genre littéraire est d’ordre spirituel et philosophique. Je considère que les contes de Petrouchevskaïa sont inscrits dans une poétique postmoderne : en tant qu’ils mettent de l’avant la fragmentation et le chaos et qu’ils expriment un élan subversif, créateur et critique; inscrits également dans une poétique postréaliste : en tant qu’ils jettent la lumière au cœur des ténèbres en faisant le contrepoids à la crise idéologique et spirituelle. ii Acknowledgements I am first and foremost indebted to my supervisor, Professor Lyudmila Parts, for her tremendous work in guiding me through the process of writing this dissertation, which must have been at times a time-consuming and daunting task. Professor Parts has helped me articulate and clarify my ideas, patiently reading and re-reading what I wrote. Her meticulous comments and constructive critique were invaluable throughout the whole process. I would like to thank Ms. Kaylin Land for her valuable editorial help; Professor Laura Beraha for her incessant efforts in encouraging the atmosphere of collegiality in the Department; as well as Ms. Lynda Bastien for administrative assistance throughout the years. Finally, I wish to thank my family and friends for all of their encouragement. I am grateful to my father and my sister for their valuable support. I thank A. for understanding what motivates my work and for believing in it. I also thank my children who helped me realize that there will be life after the dissertation. Tosiu i Lusiu, kocham Was nad życie. iii Note on Transliteration and Abbreviations I have used a modified version of the Library of Congress transliteration system with exceptions for proper names (i.e., the-y ending instead of -ii). Except for one online translation, all translations of the excerpts in the source materials are mine. The following abbreviations of Petrushevskaya's works appear in the text: SB — Sobranie sochinenii v piati tomakh. Tom 4: Skazki. Kharʹkov: Folio, 1996. NS — Nastoiashchie skazki. Moskva: Vagrius, 1997. ChB — Chernaia babochka. Sankt-Peterburg: Amfora, 2008. IiMSZh — Istorii iz moiei sobstvennoi zhizni. Sankt-Peterburg: Amfora, 2009. NSvMgD — Ne sadis' v mashinu, gde dvoe (istorii i razgovory). Moskva: AST, 2012. KMZZh — Kak mnogo znaiut zhenshchiny. Moskva: AST, 2014. iv INTRODUCTION Known predominantly as a prolific prosaist and playwright who throughout her career has ignited fervent controversy, Lyudmila Stefanovna Petrushevskaya (born on May 26, 1938 in Moscow) is considered one of the most influential contemporary Russian writers. Petrushevskaya is largely recognized as a writer of chernukha; that is, hyper-naturalist prose that emphasizes "[e]veryday cruelty and crime, tortures and humiliations of recruits in the army, the horror of prisons and other penitentiaries, the ordinary life of homeless derelicts and prostitutes, coupled with the interest (...) in the corporeal aspects of the everyday, especially sexuality."1 The gloom of her fiction and drama pertains to the disturbingly dark themes she explores, which include suicide, alcoholism, child abuse, broken marriages, one-night stands, low income, unwanted pregnancy, homelessness, abject poverty, and physical and psychological violence.2 As they deal with the "underbelly of adult relations,"3 it is unsurprising that Petrushevskaya's works were considered too bleak for publication in the Soviet Union. Petrushevskaya began writing in the late 1960s. She wrote her first short story, "Takaia devochka, sovest' mira" ("Such a Girl, the Conscience of the World") in 1968, but it was published only twenty years later.4 Her first published short story —"Cherez polia" ("Across the Fields")—appeared in the journal Avrora in 1972.5 Until 1987, Petrushevskaya published 1 Mark Lipovetsky, "Post-Soviet Literature between Realism and Postmodernism," in The Cambridge Companion to the Twentieth-Century Russian Literature, ed. by Evgeny Dobrenko and Marina Balina (Cambridge: Cambridge University Press, 2011), 179. 2 Helena Goscilo, Dehexing Sex. Womanhood During and After Glasnost (Ann Arbor: The University of Michigan Press, 1996), 18. 3 Ibid., 18. Quoted in Sally Dalton-Brown, Voices from the Void. The Genres of Liudmila Petrushevskaia (New York, Oxford: Berghahn Books, 2000), 2. 4 A story about a prostitute whose motivations are explained by an unsympathetic narrator. The story includes main Petrushevskian themes, such as prostitution, loneliness, depression, pathological interhuman relations, suicidal thoughts and acts, shortage of living space, and abuse of alcohol. 5 The gloomy existential element merges with the crude descriptions of everyday life, conjuring an image of overwhelming hopelessness. 1 individual stories in various journals. Her first collection of stories (Bessmertnaia liubov' — Immortal Love) was published only in 1988. Petrushevskaya's first plays were staged in independent theatres: "Uroki muzyki" ("Music Lessons") by the theatre-studio Moskvorech'e and theatre-studio LGU, and "Chinzano" ("Cinzano") by the Lviv theatre Gaudeamus. Only in the 1980s were Petrushevskaya's plays staged in larger Russian theatres: "Liubov'" ("Love") by the Taganka Theatre, "Kvartira Kolombiny" ("Kolombina's Appartment") by the theatre Sovremennik, and "Moskovskii khor" ("The Moscow Choir") by the Moscow Art Theatre. Petrushevskaya was more successful with her fairy tales, which were published individually throughout the 1970s6 and then in a collection of fairy tales for children in 1981.7 Since perestroika, her works have received public recognition and won acclaim, and her fiction and drama have been published steadily ever since. Petrushevskaya is the recipient of several prizes, including the Pushkin Prize (1991), the Russian Booker Prize (1992), and the World Fantasy Award (2010). The scholarship on Petrushevskaya's works is equally vast and includes scholarly articles and full-length monographs by both Russian and Western scholars.
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