Oops (which is also something a Soviet artist who gave up his dreams might say)

I am realizing that I'm not a very good blogger. I forget to post. I prattle on about the wrong things. But then, since I pretty much always intended this as a reading journal, perhaps it doesn't matter that much.

I am also not very good about reading books in a timely manner. Some books, yes. But others will languish unread for years. And strangely enough, this is not because I don't want to read them. (Well, sometimes maybe.) Rather, it is that I am looking so forward to them that I want to prolong the anticipation. I used to do the same thing with my favorite Halloween candy, which backfired when my parents ended up eating all my Twix. And there would often been Cadbury cream eggs in the refrigerator into the fall.

(Hmm, I was just struck with the thought that this delayed gratification streak is one of the things that is really good about getting so many of my books from the library. First, I get the delay while I'm waiting to get to the top of the list. But then! there are deadlines. I have to pick up the book by a certain date, and then I have to get it back to the library, read, just a few weeks later. It's very good for me.)

Anyway, I digress. One of those languishing books, a gift from almost 3 years back, was The Dream Life of Sukhanov, by Olga Grushin. (By the way, should I be spending mental energy wondering why Grushin, who grew up in Moscow & Prague before moving to the US, is Grushin instead of Grushina?) In Dream Life, we meet a self-satisfied art magazine editor in his late 50s, who appears to be on top of the world with a cushy job, all the perks of being high up in the Soviet apparatus, and a lovely family. But it's the mid-1980s, and there is a new Party Secretary, and a bunch else is about to begin to change. And more importantly, a quarter century earlier, Sukhanov, a talented artist, put aside his ideologically impure art in favor of security. Now, the decision is coming back to haunt him, literally.

As the past descends on Sukhanov, his grasp on reality and time grows shaky, as he slips into flashbacks. Grushin emphasizes these transitions by seamlessly switching from a third-person present to a third person past to a first-person past. And the flashbacks become longer, and deeper. Not only does the technique enable to reader to see how and why Sukhanov abandoned what he most loved, it also illustrates the way that he is sinking further and further into this dream life. And perhaps has inherited his father's insanity. The end comes in a dizzying whirl.

This reader's reaction to Sukhanov was complicated. His self-satisfied smugness at the opening is irritating, and I couldn't help being happy that he was going to be taken down a peg or two. And yet, especially as his vulnerability comes through, I pitied him, and wanted him to be okay. To somehow take the action that would save his (artistic) soul while remaining safe from the wild currents of history and madness. And the vagaries of bureaucratic displeasure. What can I say? I have an over-protective nature.

Grushin was a teen in Moscow in the mid1980s. I hope that her fiction will continue to engage this confusing and heady era, shedding light on how Russians of all stripes faced the promise and peril of the times.